MASTER 

NEGATIVE 
NO.  94-821 59 


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Author: 


MacFarlane,  Charles 
Alexander 

Title: 

Principles  and  practice  of 
direct  advertising 

Place: 

Hamilton.  O. 


Date 


[19161 


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MASTER    NEGATIVE    # 


COLUMBIA  UNIVERSITY  LIBRARIES 
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MacFarlane,  Charles  Alexander,  1878- 

Principles  and  practice!  of  direct  advertising,  by 
Charlos  A.  MacFarlane  ...  f2d  ed.]  Hamilton,  O.,  The 
Beckett  paper  company  [''lOlGj 

2  p.  1.,  i3]-190  p.    illus.    20"'".        $1.00 


r.  Advertising.        i.  Title :  Direct  advertising. 


Library  of  Congress 
Copyright    A  431258 


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DIRECT 
ADVERTISING 


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PUBLISHED  BY 

THE   BECKETT   PAPER   COMPANY 

MAKERS  OF  GOOD  PAPER  IN  HAMILTON, 
OHIO,  SINCE  1848 


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COPYRIGHT     NOTICE 

THIS  book  is  published  in  the  hope  that  it  will 
further  the  movement  for  more  and  better 
Direct  Advertising,  and  in  the  belief  that  it 
will  incidentally  increase  the  sale  of  our  BUCKEYE 
COVERS,  which  are  used  extensively  for  this  class 
of  publicity.  Our  interest  in  these  papers,  however, 
has  not  been  allowed  to  limit  either  the  make-up  of 
the  book  or  its  potential  usefulness  to  the  adver- 
tiser. Any  and  all  of  the  suggestions  that  are  set 
forth  on  the  following  pages  may  be  utilized  freely, 
regardless  of  whether  such  utilization  involves  the 
use  of  BUCKEYE  COVER  or  not.  Only  the  actual 
text  and  illustrations  are  reserved.  These  are  pro- 
tected by  copyright,  and  may  not  be  reproduced, 
either  wholly  or  in  part,  without  our  express 
permission. 

Das  5 

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Copyright,  1915,  1916 
By  The  Beckett  Paper  Company 


Designed  and  arranged 

for  The  Beckett  Paper  Company 

by 

Charles  A.  MacFarlane  Advertising  Service,  Lytton  Building,  Chicago 


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The  paper  on  which  this  book  is  printed  is 

BUCKEYE  COVER 

Text  pages,  White;  Plate  Finish  .  .  20  x  25—50  and  22  x  283^—60 
Cover,  Brown;  Antique  Finish  .  .  .  20  x  25—65  and  22  x  28>^ — 80 
End  Sheets,  Brown;  Antique  Finish  .    20  x  25—50  and  22  x  28>^ — 60 

The  envelope  is  a 
BUCKEYE   COVER   ENVELOPE 

Brown,  Ripple  Finish 20  x  25—80  and  22  x  28>^— 100 


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PREFACE 

This  book  is  the  result  of  an  attempt  to  assemble,  and 
to  present  in  handy  form  for  ready  reference,  a  few  of  the 
elementary  facts  and  principles  that  the  average  busy  man 
having  to  do  with  the  preparation  of  advertising  will  find  it 
helpful  to  know,  about  the  several  forms  of  "printed  matter" 
that  come  under  the  general  head  of  "Direct  Advertising." 

The  subject  being  extensive  and  the  book  brief,  the 
treatment  of  each  subject  is  necessarily  suggestive  rather 
than  exhaustive.  Topics  that  elsewhere  are  discussed 
through  entire  volumes,  even  libraries,  are  here  considered 
in  short  chapters.  There  has  been  no  opportunity  for  the 
detailed  descriptions  and  illustrations  that  are  to  be  found, 
by  those  who  know  where  to  look,  in  other  and  more  thor- 
ough advertising  text-books. 

This  limitation,  however,  is  also  an  advantage,  on  the 
principle  that  a  dictionary  often  meets  the  requirements  of 
an  investigator  better  than  an  encyclopedia:  the  one  tells 
you  the  elementary  fact  in  a  paragraph;  the  other  either 
takes  the  elementary  fact  for  granted  altogether,  or  buries 
it  in  a  mass  of  detail  whence  it  is  only  to  be  extracted  by 
the  expenditure  of  more  time  and  patience  than  the  result 
may  warrant. 

"A  DICTIONARY  OF  DIRECT 
ADVERTISING" 

The  present  volume  is  a  Dictionary  of  Direct  Advertis- 
ing rather  than  an  encyclopedia.  It  is  not  a  course  in 
Advertising.  It  will  not  make  you  an  expert  overnight; 
and  still  less,  if  you  are  already  an  expert,  is  it  likely  that 


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PRINCIPLES       AND       PRACTICE 

it  will  add  materially  to  your  equipment.  If  it  throws  an 
occasional  helpful  sidelight  on  your  advertising  problems, 
if  it  serves  as  an  occasional  source  of  inspiration  or  sugges- 
tion, it  will  have  done  all  that  its  author  and  publishers  have 
ventured  to  claim  or  hope  for  it. 

A  book  such  as  this,  like  any  other  book  about  Advertis- 
ing, must  of  necessity  appeal  most  to  those  who  are  least 
experienced  in  the  planning  and  execution  of  advertising 
campaigns,  and  of  individual  advertising  pieces. 

It  is  this  thought  that  has  dictated,  not  only  the  inclusion 
of  many  details  that  the  average  expert  will  find  highly 
superfluous,  but  also  the  preponderance  of  attention  that 
has  been  given  to  what  the  expert  might  call  the  "mere 
mechanics  "  of  Direct  Advertising. 

To  the  non-expert,  however,  the  mechanics  of  Direct  Ad- 
vertising are  not  superfluous.  They  are,  on  the  contrary, 
much  more  likely  to  prove  useful  than  the  discussions  of 
marketing  problems  that  form  the  staple  of  most  advertis- 
ing instruction. 


"ADVERTISING  IS  SELLING" 

Advertising  is  simply  a  form  of  selling,  and  as  most 
prospective  advertisers  already  know  something  about 
selling,  so  they  also  know  something  about  advertising.  As 
a  rule  they  have  a  pretty  good  idea  as  to  what  should  be 
said  about  their  product,  and  to  whom  it  should  be  said. 

They  are  less  likely  to  be  skilled  in  the  art  of  "  saying 
their  say"  effectively  in  Letters,  Circulars,  Catalogues, 
Booklets,  etc.,  and  in  this  respect,  if  in  no  other,  the  present 
compilation  should  prove  helpful.. 


OF.  DIRECT       ADVERTISING 


4    ^ 


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PRINCIPLES  AND  PRACTICE 

OF 

DIRECT  ADVERTISING 

DIRECT  ADVERTISING,  as  the  term  is  now  com- 
monly used  and  understood,  is  any  kind  of  advertising  that 
is  mailed  or  otherwise  sent  or  given,  by  or  for  an  advertiser, 
direct  to  specific  firms  or  individuals,  instead  of  being  pub- 
lished or  directed  or  distributed  to  the  public  generally. 

Catalogues,  Booklets,  Pamphlets,  Circulars,  Folders, 
Letters,  whether  "  form  "  or  "  personal  " ;  Mailing  Cards, 
Postal  Cards,  Blotters,  Novelties,  when  designed  to  promote 
the  sale  or  use  of  merchandise  or  service,  are  Direct  Adver- 
tising. 

Sampling  is  Direct  Advertising,  when  the  samples  are 
sent  or  given  to  specific  persons  or  firms,  but  will  not  be 
considered  in  this  book,  except  in  connection  with  the  dis- 
tribution of  accompanying  printed  matter. 


THE  IMPORTANCE  OF  DIRECT 
ADVERTISING 

As  a  manufactured  product.  Direct  Advertising  is  one  of 
the  mainstays  of  an  industry  that  ranks  sixth  in  the  United 
States  in  volume  of  business. 

American  Printing  establishments  in  1909,  as  scheduled 
in  the  1914  report  of  the  census  bureau,  numbered  31,445. 
They  represented  an  investment  in  plants,  machinery  and 
other  equipment  of  $588,345,708,  employed  388,466  people 
at  an  annual  wage  of  $268,086,431,  and  turned  out  $737,876,- 
087  worth  of  printing.    Over  one  hundred  million  dollars  of 


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PRINCIPLES      AND      PRACTICE 

this  amount,  it  is  estimated  by  "  Printers'  Ink,"  was  paid 
for  Direct  Advertising. 

Large  as  is  the  amount  of  money  annually  invested  in 
Direct  Advertising,  however,  it  sinks  into  insignificance 
when  compared  with  the  dividends  that  are  returned  by  the 
investment  —  the  amount  of  money  that  ultimately  changes 
hands  as  a  result  of  the  distribution  of  the  advertising. 

Excluding  Newspapers  and  Periodicals,  which  are  only 
incidentally  advertising  mediums,  Direct  Advertising  prob^ 
ably  represents  a  greater  capital  investment,  gives  employ- 
ment to  more  people,  moves  more  goods,  has  a  more  vital 
and  vitalizing  effect  on  trade,  than  any  other  one  agency 
of  business  promotion. 


STRICTLY  "  GENERAL"  CAMPAIGNS 

EXCEPTIONAL 

Few  selling  campaigns  of  importance  can  be  conducted 
without  the  aid  of  Direct  Advertising;  while  of  many  it  is 
the  chief,  and  sometimes  the  sole,  motive  power. 

The  great  mail-order  houses  are  living  and  unanswer- 
able testimonials  to  its  efficiency. 

The  two  in  Chicago  alone  mail  literally  carloads  of 
Direct  Advertising  each  month;  and  it  brings  back  cash 
mail  orders  running  into  millions  of  dollars  in  the  same 
period. 

Many  of  the  mail-order  catalogues  are  sent  out  in 
response  to  inquiries  originated  by  advertisements  in  maga- 
zines or  newspapers,  but  this  does  not  affect  the  status  or 
the  importance  of  the  Direct  Advertising.  The  General 
Advertising  provides  an  outlet  for  the  Direct  Advertising; 
the  Direct  Advertising  sells  the  goods. 


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OF       DIRECT        ADVERTISING 


DIRECT  ADVERTISING  THE  RESULT 
OF  SPECIALIZATION 

The  enormous  growth  of  Direct  Advertising,  as  a  selling 
force  distinct  from  General  Advertising,  is  a  logical  and 
inevitable  result  of  the  increasing  specialization  which  in 
our  time  is  the  outstanding  feature  of  all  branches  of  indus- 
trial activity  and  professional  service. 

When  the  Philadelphia  merchant  of  a  hundred  years 
ago,  to  go  no  farther  back,  "  begged  to  announce  "  in  the 
public  prints  of  his  day  that  he  had  just  received  a  new 
consignment  of  merchandise  from  abroad  (thereby  estab- 
lishing a  form  of  introduction  that  has  served  the  tailoring 
fraternity  faithfully  right  down  to  the  present  day),  he  was 
well  advised  in  addressing  his  appeal  to  the  public  gen- 
erally, for  it  was  the  public  generally,  and  not  merely  a 
section  of  it,  that  was  interested  in  his  wares. 

The  consignment  advertised  consisted  mainly  of  articles 
of  food  and  apparel,  of  household  utilities  and  implements 
that  were  in  common  use  by  all  the  people. 

Every  reader  of  every  copy  of  the  publication  in  which 
the  advertisement  appeared  was  a  possible  customer. 

To-day,  however,  the  social  and  industrial  organization 
of  the  civilized  world  is  complex  where  it  was  then  com- 
paratively simple,  and  the  articles  of  merchandise  that  can 
now  be  sold  economically  by  advertising  to  the  general 
public  are  the  exception  rather  than  the  rule. 

The  advertiser,  moreover,  instead  of  being  as  formerly 
a  merchant  selling  many  articles,  some  of  which  everyone 
can  use,  is  frequently  a  manufacturer  making  only  a  single 
article  or  line  of  similar  articles  which  can  be  purchased  by 
only  a  restricted  class. 


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PRINCIPLES      AND      PRACTICE 


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orders.  Each  circular  was  a  sheet  of  20  by  25  Plate-finish  BUCKEYE 
COVER,  with  order  blank,  coin-card  and  post-card  "  request  for  cata- 
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OF       DIRECT        ADVERTISING 


LOCATING  THE  STOVE  MARKET 

The  stove  manufacturer,  to  take  an  instance  at  random, 
can  not  sell  his  stoves  to  people  who  live  in  steam-heated 
apartments,  and  this  means  that  it  will  do  him  no  good  to 
advertise  in  publications  that  are  largely  read  by  such 
people. 

Whatever  method  of  advertising  he  adopts,  he  must 
place  his  announcements  where  the  majority  of  them  will 
be  seen,  or  where  they  will  at  least  have  a  chance  of  being 
seen,  by  people  who  use  stoves.  Rural  newspapers  and 
farm  papers  are  largely  used  by  such  advertisers. 

SELLING  ELECTRIC  FLATIRONS 

A  manufacturer  of  electric  flatirons,  on  the  other  hand, 
would  soon  go  out  of  business  if  he  were  to  confine  his 
advertising  to  farm  papers,  or  even  spend  any  considerable 
portion  of  his  appropriation  in  such  publications.  He  must 
look  for  his  customers  in  the  cities  and  towns  where  there 
are  electric-service  stations. 

PROBLEM  OF  THE  LOCAL  DRUGGIST 

The  neighborhood  druggist,  under  ordinary  circum- 
stances, can  not  expect  to  attract  patrons  to  his  store  from 
remote  parts  of  the  city.  He  must  sell  to  the  people  in  his 
immediate  neighborhood,  or  at  least  in  his  section  of  the 
city.  He  therefore  can  not  advertise  profitably  in  the  local 
daily  newspaper,  for  only  a  small  percentage  of  the  readers 
of  the  paper  would  be  people  to  whom  he  could  expect  to 
sell.  While  he  could  reach  his  possible  customers  through 
newspaper  advertising,  therefore,  the  cost  would  be  so  high 
(on  account  of  the  "  waste  circulation  ")  that  it  could  not 
possibly  pay  him. 

Each  advertiser,  to  sell  profitably,  must  reach  effec- 
tively the  people  who  are  in  a  position  to  buy  or  use  or 
recommend  whatever  he  may  have  to  offer  for  sale ;  and  for 

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PRINCIPLES       AND      PRACTICE 

a  multitude  of  articles  of  more  or  less  restricted  sale  and 
use,  general  announcements  to  the  public  no  longer  suffice. 

Technical  and  class  publications  meet  the  needs  of  some 
advertisers,  so  far  as  those  needs  can  be  met  by  periodical 
advertising.  But  such  publications  represent  only  a  few  of 
the  classifications  into  which  buyers  can  be  divided.  In  the 
majority  of  cases,  Direct  Advertising  is  the  only  econom- 
ical method. 

SELLING  THE  GOODS  BEFORE 
SHOWING  THEM 

Again,  it  is  to  be  remembered  that  while  practically  all 
articles  of  merchandise  were  formerly  sold  over  the  counter, 
this  is  not  so  commonly  the  case  to-day.  All  articles  that 
are  sent  to  the  consumer  by  express  or  freight  or  parcel 
post,  and  many  articles  that  are  PASSED  OUT  over  the 
counter,  are  SOLD  before  the  customer  sees  them,  usually 
through  advertising. 

This  means,  of  course,  that  advertising  is  required  to  do 
a  great  deal  more  now  than  formerly,  and  in  many  cases  a 
great  deal  more  than  could  be  accomplished  through  Gen- 
eral Advertising  alone. 

If  an  article  of  general  consumption  is  low  in  price,  and 
requires  no  extended  arguments  or  description  to  induce 
people  to  use  it,  it  can  be,  and  usually  is,  sold  by  General 
Advertising  alone. 

If  the  article  is  complicated,  however,  or  is  expensive,  or 
requires  extended  demonstration  or  selling  effort,  often  it 
can  not  be  sold  profitably  through  advertising  in  general 
mediums  alone,  even  if  every  reader  is  a  possible  purchaser. 
This  is  because  of  the  physical  limitations  of  General  Adver- 
tising. 

Under  such  circumstances  the  usual  procedure  is  to 
stimulate  interest  or  curiosity  through  the  medium  of  gen- 
eral advertising,  using  Direct  Advertising,  supplemented  in 
some  cases  by  personal  salesmanship,  to  complete  the  sale. 


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OF       DIRECT        ADVERTISING 

DIRECT  ADVERTISING 
AND  GENERAL  ADVERTISING 

COMPARED 

One  of  the  comparisons  frequently  met  with  in  discus- 
sions of  the  merits  of  General  as  against  Direct  Advertising, 
is  concerned  with  the  cost  of  "  reaching  "  a  given  number  of 
people. 

To  "  reach  "  a  thousand  persons  by  Direct  Advertising, 
it  is  pointed  out,  costs  ten  dollars  for  postage  alone; 
whereas  a  page  of  space  in  a  magazine  of  general  circula- 
tion costs,  in  round  figures,  one  dollar  per  thousand  of 
circulation  —  a  difference  of  ten  to  one  in  favor  of  General 
Advertising. 

When  this  comparison  is  examined  closely,  however,  it 
is  seen  to  be  misleading,  for  the  reason  that  it  is  based  on 
two  arbitrary  quantities  —  the  cost  of  postage  in  one  case 
and  of  space  in  the  other  —  which  have  no  real  relation  to 
each  other. 

The  comparison  becomes  illuminating  only  when  all  of 
the  essential  factors  are  taken  into  consideration  —  the 
character,  manufacturing  cost  and  selling  price  of  the  article 
to  be  advertised,  the  kind  and  number  and  geographical 
distribution  of  the  people  to  whom  it  is  to  be  advertised, 
the  amount  of  space  necessary  to  tell  the  selling  story  ade- 
quately, and  the  results  that  can  be  produced  or  reasonably 
expected  by  each  method. 


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REACHING  "  THE  BUSINESS  MAN 


Suppose,  for  example,  that  the  article  is  one  that  appeals 
especially  to  business  men,  and  a  choice  is  to  be  made 
between  a  circular  and  a  page  in  a  business  man's  magazine. 

Here  the  comparison  is  not  quite  the  same  as  before; 
for  while  the  postage  alone  on  the  circular  is  still  ten  dol- 
lars, the  cost  of  the  space  in  the  business  man's  magazine  is 

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PRINCIPLES      AND      PRACTICE 

just  double  the  cost  of  the  same  space  in  a  magazine  of 
general  circulation.  The  business  magazine  charges  two 
dollars  per  page  per  thousand,  instead  of  one,  because  it  is 
read  by  a  special  class  of  people,  and  is  therefore  a  more 
valuable  medium  for  advertisers  who  wish  to  appeal  to  that 
class. 


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This,  however,  is  a  very  moderate  rate  for  a  "  class 
publication.     The   more   restricted   the    classification,    the 
higher  the  rate  that  must  be  paid. 


THE  AD.  MAN  COSTS  MORE 

If  we  wish  to  reach  advertising  men  exclusively,  the  rate 
per  page  in  the  leading  advertising  journal  will  be  in  the 
neighborhood  of  five  dollars  per  thousand. 

If  we  wish  to  appeal  exclusively  to  printers  and  those 
interested  in  printing,  the  rate  per  page  per  thousand  in  the 
leading  printing  trade  publications  will  run  as  high  as  ten 
dollars. 

Suppose  then  that  we  have  an  article  to  sell  to  printers 
that  can  not  be  adequately  described  in  one  or  two  or  three 
pages.  If  four  pages  are  used,  the  cost  of  the  one  adver- 
tisement will  be  $40  per  thousand  of  circulation. 

All  this  while,  however,  the  cost  of  mailing  our  circular 
has  remained  stationary  at  ten  dollars  per  thousand,  leaving 
a  margin  of  $30  per  thousand  for  paper  and  printing.* 

Four-page  and  even  eight-  and  ten-page  advertisements 
are  not  uncommon  in  class  publications;  and  since  the 
equivalent  of  any  of  these  advertisements,  bulk  alone  con- 
sidered, can  be  sent  through  the  mails  under  one-cent  post- 
age, it  will  readily  be  seen  that  the  mere  cost  of  "  reaching  " 
a  given  number  of  prospects  by  one  method  or  the  other  is 
of  no  significance. 

*'A  very  elaborate  circular,  mailable  forone  cent,  can  be  manufactured 
in  quantities  for  considerably  less  than  $30  per  thousand. 


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OF       DIRECT       ADVERTISING 

WHY  PUBLISHERS  USE  DIRECT 
ADVERTISING 

A  conclusive  exposition  of  the  fallacy  of  the  "cost  of 
reaching  the  consumer"  comparison,  and  a  striking  testi- 
monial to  the  efficacy  of  Direct  Advertising,  is  found  in  the 
fact  that  it  is  used  extensively  by  publishers  of  magazines 
and  newspapers,  as  a  means  of  selling,  or  helping  to  sell, 
their  space  to  advertisers. 

Publishers  mail  Booklets,  Circulars,  Letters,  Cards,  etc., 
to  advertisers  and  advertising  agencies  because  these  me- 
diums offer  them  the  best  opportunity  to  place  their  selling 
arguments  before  the  right  people,  in  the  most  effective 
form,  and  at  minimum  cost. 

This  does  not  mean  that  Direct  Advertising  as  a  form  of 
publicity  is  superior  to  newspaper  advertising,  any  more 
than  it  means  it  is  superior  to  Magazine  Advertising,  or 
Street  Car  Advertising,  or  Electric  Signs,  or  Billboards. 

What  it  does  mean,  and  what  it  proves,  is  that  Direct 
Advertising,  like  each  of  the  forms  of  General  Advertising, 
is  better  for  some  purposes  than  any  other  form  of  pub- 
licity, and  that  this  fact  is  both  fully  recognized  and  con- 
stantly utilized  by  those  people  of  all  others  who  are  most 
interested  in  the  sale  and  use  of  General  Advertising. 

HOW  PUBLISHERS  SELL  THEIR 

SPACE 

I  have  before  me  as  I  write,  an  extensive  assortment  of 
Direct  Advertisements  bearing  the  imprints  of  prominent 
publishers  in  all  parts  of  the  country. 

Even  a  casual  inspection  of  these  pieces  shows  that  in 
each  instance  Direct  Advertising  was  resorted  to,  not  only 
as  a  means  of  reaching  a  small  list  of  people  economically, 
but  also  as  a  means  of  reaching  them  MORE  EFFEC- 
TIVELY than  would  have  been  possible  through  the  use 

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PRINCIPLES       AND       PRACTICE 

of  any  reasonable  amount  of  space  in  a  magazine  or  news- 
paper. 

One  large  48-page  booklet  is  made  up  of  arguments  and 
illustrations  designed  to  impress  advertisers  and  their  repre- 
sentatives with  the  value  of  page  advertisements  in  a  great 
Chicago  newspaper. 

A  page  advertisement  in  this  paper,  under  proper  condi- 
tions, is  an  excellent  investment.  But  the  48-page  booklet, 
as  a  means  of  selling  space  for  such  page  advertisements, 
was  unquestionably  a  better  investment. 

Another  and  still  larger  book  consists  of  64  pages,  and 
is  bound  substantially  in  boards,  besides  being  beautifully 
printed  on  a  fine  grade  of  paper.  It  was  mailed  to  a  limited 
number  of  advertisers  and  advertising  agencies,  and  its  sole 
purpose  is  to  sell  space,  or  to  promote  the  more  effective 
use  of  space,  which  comes  to  the  same  thing,  in  a  well- 
known  business  man's  magazine. 

WHY  DIRECT  ADVERTISING  IS  MORE 

ECONOMICAL 

The  cost  of  these  two  books,  per  thousand,  was  a  great 
deal  more  than  it  would  have  cost  to  print  the  same  text 
and  illustrations  in  a  thousand  copies  of  each  of  the  publica- 
tions represented.  But  the  cost  of  reaching  each  "  pros- 
pect "  was  infinitely  less,  because  all  waste  circulation  was 
eliminated,  every  copy  going  direct  to  an  actual  or  potential 
advertiser,  or  to  some  one  known  to  be  professionally  inter- 
ested in  the  designing,  writing  and  placing  of  advertise- 
ments. 

These  two  examples,  selected  at  random  from  a  multi- 
tude of  similar  ones,  are  introduced  here,  not  to  belittle 
General  Advertising  as  compared  with  Direct  Advertising, 
but  simply  to  emphasize  the  interdependence  of  the  two 
forms  of  publicity. 

The  producers  of  Direct  Advertising  use  General  Adver- 
tsing  in  promoting  their  businesses,  just  as  the  producers 


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OF       DIRECT       ADVERTISING 


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A  few  Direct  Advertisements  sent  out  by  representative  publishers 
of  general  advertising  mediums.  Many  of  these  were  printed  on 
BUCKEYE  COVER. 


PRINCIPLES      AND      PRACTICE 

of  General  Advertising  use  Direct  Advertising  in  promoting 
theirs.  The  publishers  of  this  book,  whose  product  is  used 
mainly  in  the  production  of  Direct  Advertising,  are  staunch 
believers  in  General  Advertising.  They  think  highly  of  it, 
and  they  use  it  constantly  and  profitably. 

General  Advertising,  however,  is  the  older,  the  more 
highly  organized  industry.  It  is  more  spectacular;  has 
greater  prestige.  It  has  therefore  not  seemed  to  the  writer 
beside  the  point,  in  a  book  devoted  to  Direct  Advertising, 
to  call  attention  to  the  esteem  in  which  it  is  held  and  the 
frequency  with  which  it  is  used  by  those  whose  interest  is 
primarily  in  the  other,  and  occasionally  competitive  form 
of  publicity. 


MECHANICAL  ADVANTAGES  OF 
DIRECT  ADVERTISING 

In  addition  to  its  directness  and  its  economy,  Direct 
Advertising,  by  reason  of  its  almost  unlimited  flexibility, 
offers  many  advantages  which  are  not  available  to  those 
advertisers  who  use  General  Advertising  exclusively. 

The  Direct  Advertiser  is  hampered  by  no  restrictions. 
He  can  make  his  advertisement  as  large  as  can  be  con- 
veniently handled  and  read.  He  can  print  it  in  any  and  as 
many  colors  as  he  likes,  and  on  any  paper  he  likes. 

The  size  of  the  space,  the  kind  of  illustrations,  the  char- 
acter and  color  of  the  printing,  are  determined,  not  by  pub- 
lishing conditions,  but  by  the  advertiser's  individual  require- 
ments. 

If  the  article  has  a  great  deal  of  detail,  making  it  desir- 
able to  use,  say,  a  200-line  half  tone  screen,  that  screen  can 
be  used,  just  as  readily  as  the  133  to  150  required  by  the 
magazines :  it  is  necessary  only  to  use  the  proper  paper  and 
printing. 

If  extra  colors  are  necessary,  they  can  be  added,  without 
adding  materially  to  the  cost  of  the  advertisement. 


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CLINCHING  THE  SALE 

Most  important  of  all,  the  Direct  Advertisement  can  be 
made  a  far  more  complete  selling  effort  than  is  ever  possible 
in  General  Advertising.  The  Direct  Advertisement  "  carries 
on  "  from  the  point  where  General  Advertising  leaves  off. 
It  can  do  a  great  deal  more  than  merely  excite  interest  and 
turn  the  interest  into  a  resolve  to  purchase.  It  can  clinch 
the  sale.    It  can,  and  does,  "  bring  home  the  bacon.' 


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This  is  because  the  Direct  Advertisement,  unlike  the 
General  Advertisement,  is  not  confined  to  pictures  and 
descriptions  and  arguments  relating  to  the  article  or  service 
advertised  —  it  can  include  also  the  facilities  for  ordering,  as 
well  as  a  great  variety  of  separate  advertisements,  remind- 
ers, etc.,  that  are  entirely  out  of  the  question  when  other 
forms  of  publicity  are  used. 

MAKING  IT  EASY  TO  ORDER 

Order  blanks,  postal  cards,  coin  cards,  samples  of  mer- 
chandise, price  lists,  discount  sheets,  lists  of  dealers,  testi- 
monial booklets,  blotters,  novelties  —  any  and  all  of  these 
can  be  made  a  part  of,  or  can  be  mailed  with,  any  Direct 
Advertisement,  and  without  affecting  the  rate  of  postage, 
except  in  the  case  of  samples  or  other  enclosures  classed  by 
the  postofifice  department  as  "  merchandise." 


SECRECY  OF  DIRECT  ADVERTISING 

A  feature  of  Direct  Advertising  that  is  often  of  great 
advantage  to  the  advertiser  is  its  comparative  secrecy. 

Announcements  in  Newspapers  and  Magazines,  in  Street 
Cars  and  on  Billboards,  are  read  by  your  competitors,  both 
actual  and  potential,  as  well  as  by  the  people  whose  patron- 
age you  are  seeking. 

Direct  Advertisements,  on  the  other  hand,  are  much  less 
likely  to  come  to  the  attention  of  others  than  those  to  whom 

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PRINCIPLES      AND       PRACTICE 

they  are  specifically  addressed ;  and  even  if  individual  mail- 
ing pieces  do  come  to  the  attention  of  a  competitor,  they 
teU  him  little  or  nothing  concerning  the  plan  and  scope  of 
the  campaign. 

It  is  impossible  to  tell,  by  looking  at  a  copy  of  a  Cata- 
logue, Booklet,  Circular  or  Letter  how  many  copies  were 
distributed,  or  where  and  when  and  to  whom  they  were 
distributed;  nor  is  it  possible  to  tell  by  what  other  pieces 
they  were  preceded  and  followed,  whereas  the  extent  and 
character  of  any  "  General "  campaign  may  be  readily  ascer- 
tained by  any  one  who  is  sufficiently  interested  to  take  the 
trouble. 

This  difference  between  secrecy  and  publicity  is  very 
often  the  difference  between  success  and  failure,  or  between 
a  great  and  a  limited  success.  Direct  Advertising  giving  the 
advertiser  an  opportunity  to  enjoy  a  monopoly  in  his  field, 
where  General  Advertising  would  be  reasonably  certain  to 
attract  destructive  competition. 


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PLANNING  THE  CAMPAIGN 

Before  an  advertising  campaign  or  even  a  single  adver- 
tisement can  be  planned  intelligently,  it  is  necessary  that 
the  problem  be  analyzed.  Every  line  of  business,  every 
individual  selling  venture,  has  its  peculiarities,  and  it  is  only 
by  carefully  ascertaining  these  and  being  guided  by  them 
that  the  advertising  can  be  made  to  yield  adequate  returns. 

It  is,  of  course,  possible  to  write  advertisements  about  a 
watch,  or  a  piano,  or  a  food  product  by  merely  seeing  and 
appraising  the  article  itself;  it  may  even  be  done  from  a 
picture  or  description.  Advertising  based  on  such  meagre 
data,  however,  can  be  successful  only  by  accident. 

To  advertise  successfully,  you  must  know  WHOM  you 
are  selling  as  well  as  WHAT  you  are  selling.  The  adver- 
tising must  fit  the  market  as  well  as  the  product.  Articles 
are  not  bought  because  of  their  intrinsic  worth  and 
attractiveness  alone.  The  characters  and  habits  of  the  pur- 
chasers have  a  great  deal  to  do  with  it,  and  these  in  turn 
may  be  affected  by  geographical  location,  occupation,  age, 
sex,  buying  capacity,  social  standing,  religious  and  fraternal 
affiliations,  business  rating  and  reputation,  and  many  other 
factors. 

It  is  also  important  to  know  the  particulars  concerning 
the  competition,  if  any,  that  the  advertised  article  or  service 
must  meet,  since  this  usually  has  an  important  bearing  on 
the  character  of  the  advertising. 

These  things  are  true  of  all  methods  of  advertising,  but 
they  are  more  applicable  to  Direct  Advertising  than  to  any 
other  kind,  for  the  reason  that  the  Direct  Advertiser  has  a 
greater  opportunity,  and  by  the  same  token  has  a  greater 
need,  to  make  his  advertising  fit  his  selling  problem. 

When  you  advertise  in  a  publication,  your  advertisement 
goes  to  the  readers  of  that  publication,  whoever  and  where- 
ever  they  may  happen  to  be.  When  you  send  out  Direct 
Advertisements,  they  go  to  THE  PEOPLE  YOU  SELECT, 

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PRIN  C  IPLES       AND       PRACTICE 

and  to  those  people  only.  It  is  therefore  of  the  utmost 
importance  that  you  select  the  right  people,  as  well  as  the 
right  method  of  appealing  to  them. 


SELECTING  YOUR  "PROSPECTS 


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The  word  "  prospect "  as  applied  to  advertising  is  prob- 
ably a  contraction  of  the  phrase  "prospective  customer,"  but 
by  common  usage  it  has  come  to  have  a  considerably 
broader  significance.  It  does  not  mean  prospective  cus- 
tomers alone.  It  means  anyone  to  whom  an  advertising 
appeal  can  be  made  profitably,  and  this  may  include  several 
classes  of  people  besides  prospective  customers. 

Wholesalers  and  retailers  and  their  salespeople,  agents 
and  canvassers,  employees  of  prospective  customers,  your 
own  salesmen  —  any  or  all  of  these  may  be  "prospects" 
worthy  of  your  advertising  efforts,  depending,  of  course, 
upon  the  nature  of  the  product  and  the  method  of  its  dis- 
tribution. 

DIRECT  ADVERTISING  AND 
INDIRECT  SELLING 

Many  products  are  advertised  successfully  to  people 
who  do  not  commonly  buy  them,  except  as  incidental  parts 
of  other  products.  Automobile  parts  and  equipment,  such 
as  axles,  bearings,  springs,  batteries,  ignition  systems,  etc., 
are  examples.  All  of  these  are  advertised  to  automobile 
buyers,  notwithstanding  most  of  them  are  SOLD  only  to 
automobile  manufacturers. 

Other  products  are  advertised  to  people  who  neither  buy 
nor  use  them,  but  who,  in  their  professional  capacities,  may 
influence  the  sale  of  the  articles.  Building  materials  and 
equipment  are  advertised,  not  only  to  contractors  and 
ovimers,  but  to  architects  and  engineers  as  well. 

Occasionally,  too,  a  manufacturer  finds  it  profitable  to 
advertise  something  that  he  does  not  sell,  or  something  that 

22 


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OF       DIRECT       ADVERTISING 

he  handles  only  as  a  side  line,  in  order  to  stimulate  the  sale 
of  his  product.  The  advantages  of  concrete  construction 
are  advertised  as  a  means  of  stimulating  the  sale  and  use 
of  cement.  The  Standard  Oil  Company  sells  lamps  and 
oil  stoves  in  order  to  enlarge  the  market  for  kerosene. 
Central  stations  often  sell  electrical  devices  at  or  near  cost, 
depending  for  their  profit  on  the  increased  "  off-peak  "  load, 
and  so  on. 

Obvious  as  these  advertising  "  indirections  "  may  seem 
to  be,  it  is  only  recently  that  the  Fleischmann  Yeast  Com- 
pany undertook,  and  with  very  satisfactory  results  so  far 
as  has  been  reported,  to  increase  the  sale  of  its  product  by 
distributing  BREAD  RECIPE  BOOKS  to  housewives. 
No  housewife  can  be  induced  to  use  two  cakes  of  yeast  in 
a  batch  of  bread  that  requires  only  one;  but  if  she  can  be 
induced  to  use  MORE  BREAD,  the  result  is  the  same. 

From  even  a  casual  consideration  of  these  examples,  it 
is  easy  to  see  the  advantage  of  using  the  imagination  when 
planning  an  advertising  campaign  —  the  advantage  of 
inquiring  whether  the  greatest  opportunities  for  profitable 
business  promotion  may  not  lay  outside,  rather  than  inside, 
the  regular  channels  of  trade. 

It  goes  without  saying,  of  course,  that  not  every  manu- 
facturer can  get  profitable  results  by  advertising  a  machine 
part  to  the  people  who  buy  the  completed  machine,  or  by 
advertising  a  complete  product  in  order  to  sell  a  raw  mate- 
rial, but  the  possibility  of  doing  one  or  the  other  of  these 
things  should  at  least  have  due  consideration. 

If  you  refrain  from  "  indirect "  Direct  Advertising,  in 
other  words,  let  it  be  for  a  good  reason.  Being  satisfied 
that  it  would  not  pay  is  a  good  reason.  Overlooking  the 
opportunity  is  a  poor  one. 

PREPARING  THE  MAILING  LIST 

The  basis  of  every  Direct  Advertising  campaign  is  the 
Mailing  List,  containing  the  names  and  addresses  of  the 
firms  and  individuals  to  whom  the  advertisements  are  to  be 

23 


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PRINCIPLES       AND       PRACTICE 

sent.  (They  are  not  always  mailed,  hence  the  term  "  mail- 
ing list "  is  to  be  regarded  as  one  of  convenience  rather  than 
of  literal  accuracy.) 

If  the  Direct  Advertising  campaign  is  supplemental  to 
a  General  campaign,  the  source  of  the  names  is  usually  the 
advertisements  printed  in  periodicals,  these  advertisements 
producing  responses  in  the  form  of  orders,  requests  for 
samples,  literature,  etc.  Sometimes  the  list  is  made  up 
partly,  or  even  entirely,  of  names  of  customers  furnished 
by  dealers  who  distribute  the  commodity  advertised.  Cus- 
tomers already  on  the  books  of  the  advertiser  may  also  be 
included. 

Where  Direct  Advertising  alone  is  depended  upon  to 
carry  the  printed  selling  appeal,  or  where  it  is  used  in  con- 
nection with  General  Advertising  but  the  General  Adver- 
itising  is  not  depended  upon  to  develop  the  mailing  list,  the 
names  must  be  secured  from  other  sources. 

The  principal  sources  of  names,  other  than  those  already 
mentioned,  are  the  following: 

City  Directories. 

Telephone  Directories. 

Trade  and  Professional  Directories. 

Commercial  Agency  Reference  Books. 

Special  Lists,  compiled  by  concerns  who  make  a  business 
of  selling  them  to  advertisers. 


DETERMINING  THE  CHARACTER 

OF  THE  APPEAL 

The  most  successful  advertisements  are  not  those  that 
are  most  cleverly  worded  and  attractively  displayed,  but 
those  that  come  nearest  to  making  THE  RIGHT  APPEAL 
to  the  people  who  read  them. 

Your  customers  do  not  buy  your  merchandise  because 
it  is  intrinsically  meritorious,  or  because  it  is  good  value 
for  the  money.    They  buy  it  because  they  think  it  to  their 

24 


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OF       DIRECT       ADVERTISING 

own  advantage  to  do  so,  and  in  arriving  at  this  opinion  they 
are  moved  by  a  great  many  considerations  other  than  the 
quality  and  price  of  the  article  itself. 

Pride,  Prejudice,  Vanity,  Acquisitiveness,  Indolence, 
Love  of  Luxury,  and  many  other  human  qualities  are  impor- 
tant factors  in  making  sales,  and  the  line  of  least  resistance 
for  the  advertiser  often  lies  through  an  appeal  to  one  of 
these  qualities,  rather  than  through  a  descriptive  exposition 
of  the  merits  of  the  article  advertised. 

In  selling  Life  Insurance,  for  example,  it  is  the  Life 
Insurance  IDEA  that  has  to  be  sold.  The  prospect  needs 
to  be  convinced  that  he  needs  Life  Insurance,  and  the 
appeal  here  is  usually  made  to  hinge  upon  the  desire  that 
all  normal  men  have  to  provide  for  those  dependent  upon 
them,  or  for  their  own  old  age. 

It  is  also  essential  to  first  have  clear  in  your  own  mind, 
and  then  make  clear  to  the  reader  of  your  advertising,  ex- 
actly what  you  expect  the  advertising  to  accomplish ;  or,  to 
put  it  another  way,  exactly  what  you  expect  the  reader  of 
the  advertising  to  DO. 

Obvious  and  elementary  as  this  seems,  it  is  a  require- 
ment that  is  more  honored  in  the  breach  than  in  the  obser- 
vance by  a  great  many  advertisers. 

Anyone  who  receives  much  Direct  Advertising  can 
hardly  have  failed  to  notice  the  frequent  failure  of  adver- 
tisers to  make  their  appeals  specific  —  their  failure  to  so 
construct  them  that  a  clear  and  definite  impression  will  be 
made  upon  the  mind  of  the  reader. 

The  "  prospect "  very  often  is  left  in  doubt  as  to  whether 
his  "  next  move  "  is  to  send  money  by  mail  for  the  article 
advertised,  ask  a  dealer  for  it,  write  the  advertiser  for  fur- 
ther information,  or  what  not.  One  of  the  largest  corpora- 
tions in  America  recently  sent  out  a  Direct  Advertisement 
which  was  glaringly  defective  in  this  respect. 

A  description  of  a  product,  as  has  already  been  stated, 
is  not  necessarily  an  advertisement  in  the  modem  sense  of 
the  term.    When  you  have  constructed  what  you  think  is  an 

25 


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I 


PRINCIPLES       AND       PRACT  ICE 

effective  one,  it  is  a  good  plan  to  show  it  to  outsiders  who 
might  qualify  as  possible  customers,  or  who  will  at  least 
have  an  outside  point  of  view.  Find  out  what  impression 
the  advertisement  makes  on  them.  Find  out  particularly 
what  questions  they  are  disposed  to  ask  when  they  have 
read  the  advertisement  —  then  reconstruct  it  so  that  these 
questions  are  anticipated. 


WHAT  KIND  OF  PIECES? 

The  most  important  forms  of  Direct  Advertisements  are 
Catalogues  and  Booklets,  Letters,  Circulars  or  Folders  and 
Mailing  Cards.  Incidental  forms  are  Envelope  Stuffers. 
Blotters,  etc. 

Detailed  suggestions  as  to  the  adaptability  of  each  of 
these  forms  to  various  requirements  will  be  found  under  the 
proper  headings  in  other  portions  of  the  book.    (See  Index.) 


HOW  MANY  PIECES? 

The  number  of  pieces  of  advertising  matter  that  can  be 
mailed  profitably  to  any  one  person  or  firm,  advertising  the 
same  article  or  proposition  —  the  number  of  pieces  that  will 
yield  the  greatest  return  on  the  advertising  investment,  in 
other  words -— depends  upon  a  variety  of  circumstances, 
such  as  the  nature  of  the  article,  its  cost  and  margin  of 
profit,  the  kind  of  people  to  whom  it  is  to  be  sold,  the  com- 
petition of  other  articles,  etc. 

In  selling  low-priced  articles  direct  by  mail,  a  single 
piece  of  advertising  matter  is  usually  all  that  is  necessary, 
and  all  that  will  be  profitable.  If  people  do  not  buy  such 
articles  readily  the  first  time  they  are  offered,  it  rarely  pays 
to  make  a  second  appeal.  Two  letters  or  circulars  mailed 
to  the  same  list  of  names  will  bring  more  orders  than  one, 
but  one  letter  or  circular  mailed  to  double  the  number  of 
names  will  usually  pay  better. 

26 


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OF       DIRECT       ADVERTISING 

The  same  principle  holds  true,  to  a  very  great  extent, 
where  the  article  offered  or  the  proposal  set  forth  in  the 
advertisement  is  so  attractive  that  it  can  be  depended  upon 
to  commend  itself  instantly  to  almost  anyone  who  is  in  a 
position  to  purchase. 

If  a  merchant  were  to  offer  at  half  price  an  article  the 
known  and  established  price  of  which  was  $5,  such  an  offer 
would  require  no  follow-up.  The  advertiser  would  be  rea- 
sonably safe  in  assuming  that  a  single  announcement  would 
bring  about  as  many  orders  as  were  to  be  had. 

It  would  be  quite  otherwise,  however,  if  the  same  mer- 
chant were  only  seeking  to  induce  prospective  purchasers 
of  the  $5  article  to  buy  it  at  full  price  from  him,  instead  of 
from  some  other  merchant.  Here  there  would  be  no  obvi- 
ous advantage  to  the  purchaser,  and  a  single  advertisement 
containing  such  a  proposal  could  hardly  be  profitable. 

WHAT  SHOULD  THE  PIECES  COST? 

A  comparison  of  the  cost  of  Direct  Advertising  with  the 
cost  of  General  Advertising  will  be  found  in  a  previous 
section  of  this  book.  In  this  section  more  detailed  sugges- 
tions will  be  given  as  to  the  actual,  rather  than  the  relative, 
cost  of  the  more  commonly  used  forms  of  Direct  Advertis- 
ing. 

The  preponderant  item  of  cost,  so  far  as  the  cheaper 
forms  are  concerned,  is  the  postage.  To  give  a  general 
idea  of  the  total  cost  of  these  cheaper  forms,  therefore,  it 
is  necessary  to  take  the  postage  as  a  basis. 

Uncle  Sam's  minimum  charge  for  carrying  a  piece  of 
advertising  matter  is  1  cent ;  and  as  it  is  a  "  flat "  rate,  no 
discounts  on  quantity  orders,  this  gives  us  $10  per  thou- 
sand as  the  basic  cost  of  any  ordinary  advertising  letter, 
circular,  folder,  broadside  or  booklet. 

Figuring  on  a  moderate-sized  list  of  names,  say  five 
thousand,  so  that  the  fixed  costs  such  as  typesetting,  press 
make-ready,  etc.,  will  not  be  disproportionate,  we  find  that 

27 


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P  R  I  N  C  I  P  LES      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


% 


a  cheap  circular  or  mailing  card  can  be  printed,  addressed 
and  mailed  for  $3  to  $3.50  per  thousand.  These  figures 
are,  of  course,  approximate,  but,  when  added  to  the  postage 
they  give  what  may  be  considered  about  the  lowest  prac- 
ticable cost  of  circularizing  a  list  of  names  —  $13  to  $13.50 
per  thousand. 

From  this  it  is  a  long  way  to  the  dollar  or  more  per  copy 
that  is  frequently  paid  for  a  fine  catalogue ;  but  if  we  exclude 
propositions  requiring  elaborate  catalogues  or  booklets, 
the  cost  difference  between  the  very  cheap  and  the  very 
good  —  the  cheapest  Direct  Advertising  that  CAN  be  got- 
ten out  and  the  best  that  NEED  be  —  is  not  nearly  so  great 
as  IS  generally  supposed. 

You  can  not  get  out  much  of  a  circular  for  $13.50  per 
thousand ;    but  for  double   this   amount,  representing  an 
additional  investment  of  only  a  little  over  1  cent  per  name 
you  can  choose  among  a  wide  variety  of  attractive  and 
effective  forms. 

For  $35  you  can  send  out  a  thousand  imitation  type- 
written letters,  with  filled-in  typewritten  salutations  and 
printed  signatures,  under  FIRST-CLASS  postage.  One 
and  one-half  cents  per  letter,  or  $15  per  thousand,  will  be 
tound  a  fair  average  allowance  for  letter-heads  and  envel- 
opes, printing,  filling-in,  folding,  inserting  and  mailing. 

Given  the  same  amount  per  thousand  to  spend  on  a  cir- 
cular  which  can  be  mailed  under  l-cent  postage  up  to  a 
weight  limit  of  two  ounces,  the  portion  available  for  print- 
ing and  mailing  will  be  2i^  cents  per  piece,  or  $25  per 
thousand,  and  if  you  are  getting  out  as  many  as  five  thou- 
sand at  once,  this  will  buy  a  fairly  sizable  and  elaborate 
two-color  circular  or  folder,  in  which  the  usual  run  of 
propositions  could  be  set  forth  attractively  and  effectively 
iixpensive  designs  or  illustrations  will  increase  this  per- 
thousand  cost;  increasing  the  edition  will  bring  the  per- 
thousand  cost  down  again,  since  it  is  obvious  that  the  more 
pieces  you  get  out  the  lower  will  be  the  cost  PER  PIECE 
for  art  work,  plates,  typesetting,  press  make-ready,  etc. 

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The  difference  in  cost  between  a  very  cheap  mailing 
piece  and  a  very  good  one  —  or,  to  be  more  exact,  between 
a  piece  that  is  inadequate  and  another  one  that  is  entirely 
adequate  for  a  particular  purpose  —  is  seldom  enough, 
in  itself,  to  determine  the  issue  of  a  campaign.  But  IN  ITS 
EFFECT  on  the  character  of  the  advertising,  the  differ- 
ence is  often  more  than  enough  to  change  failure  to  success, 
or  vice  versa. 

To  put  it  another  way:  If  a  proposed  circular  costs  $20 
per  thousand  to  print  and  mail,  and  it  is  assumed  that  it 
will  yield  profitable  returns,  it  is  unlikely  that  increasing 
the  cost  to  $25  per  thousand  will  make  the  returns 
unprofitable,  even  if  they  are  no  greater  than  before.  The 
greater  probability  is  that  if  the  increased  cost  will  make 
the  circular  more  effective,  if  it  makes  possible  a  more 
attractive  display  and  a  stronger  presentation  of  the  article 
advertised,  the  increased  returns  will  be  more  than  propor- 
tionate. 

More  money  is  thrown  away  on  cheap  advertising  than 
on  the  expensive  kind.    Be  sure  yours  is  good  enough. 


29 


i 


PRINCIPLES       AND 


PRACTICE 


DRAWINGS— ENGRAVINGS 

Where  illustrations  or  designs  are  used  in  Direct  Adver- 
tisements, they  are  commonly  the  principal  determining 
factors  in  the  selection  of  the  paper  and  printing  process; 
hence  a  knowledge  of  the  possibilities  and  limitations  of  the 
various  kinds  of  engraving  is  invaluable  to  the  advertiser 
who  wishes  to  give  intelligent  supervision  to  the  prepara- 
tion of  his  Business  Literature. 

Engravings,  moreover,  are  the  least  understood  and  the 
most  frequently  troublesome  to  the  layman  of  any  adver- 
tising material  with  which  he  has  occasion  to  concern  him- 
self. In  making  up  this  book,  therefore,  the  subject  of 
Drawings  and  Engravings  has  been  allowed  to  take  prece- 
dence over  the  sections  devoted  to  the  preparation  and 
arrangement  of  the  Catalogues,  Booklets,  Folders,  etc.,  in 
which  the  engravings  are  to  be  used. 

THE  HALF-TONE  PROCESS 

The  half-tone  is  the  most  frequently  used  of  all  engrav- 
ings, in  Direct  as  well  as  in  General  Advertising,  for  the 
simple  reason  that  as  a  rule  it  is  the  cheapest  and  most 
satisfactory  means  of  accomplishing  the  multiple  repre- 
sentation, on  paper,  of  any  objects,  pictures  or  designs  that 
contain  gradations  of  color  between  black  and  white. 

A  finished  half-tone  plate  is  not  essentially  different 
from  a  line  engraving  or  a  wood  cut.  It  is  a  relief  plate,  the 
printing  surface  of  which  is  made  up  of  a  pattern  of  lines 
and  dots.  The  difference  is  in  the  process  whereby  the  pat- 
tern of  lines  and  dots,  instead  of  being  tediously  and  expen- 
sively produced  by  hand,  is  produced  quickly  and  cheaply, 
by  mechanical  means. 

This  is  accomplished  by  photographing  the  picture  or 
object  through  a  "  screen  "  which  breaks  up  the  flat  colors 
of  the  copy  so  that  white,  for  instance,  is  represented  in  the 

30 


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OF       DIRECT       ADVERTISING 


plate  by  a  pattern  of  dots  so  small  that  the  printed  impres- 
sion of  them  is  barely  perceptible,  while  black  is  repre- 
sented by  heavy  cross  lines,  so  close  together  that  in  the 
printed  impression  it  has  the  appearance  of  solid  color. 

Every  gradation  of  color  between  these  extremes  is  faith- 
fully rendered  —  light  gray  by  small  dots,  v^ridely  spaced; 
darker  gray  by  larger  dots,  closer  together ;  still  darker  gray 
by  cross  lines,  widely  spaced;  very  dark  gray  by  heavier 
lines,  closer  together,  etc. 


Circular  illustrations  stand  out  much  more  strongly  than 
rectangular  ones  of  the  same  size. 


i 


31 


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i 


PRINCIPLES      AND      PRACTICE 


ft 


MAKING  "FINE"  AND  "COARSE 

HALF-TONES 


By  using  "  screens  "  having  a  greater  or  lesser  number 
of  lines  to  the  inch,  fine  or  coarse  half-tones  are  produced, 
according  to  the  requirements  of  the  work  for  which  they  are 
intended. 

If  the  half-tone  is  to  be  carefully  printed,  on  good  paper 
(which  in  this  case  means  paper  with  the  smoothest  pos- 
sible surface),  a  very  fine  screen  can  be  used,  so  that  the 
lines  and  dots  in  the  printed  impression  are  hardly  apparent 
to  the  eye,  and  the  smallest  details  in  the  copy  are  faithfully 
reproduced. 

Half-tones  having  two  hundred  lines  to  the  inch  are 
sometimes  used  in  high-grade  work,  and  even  400-line  half- 
tones have  been  made  and  printed  successfully. 

It  is  not  advisable,  however,  to  order  half-tones  having 
more  than  150  lines  to  the  inch,  unless  upon  the  specific 
recommendation  of  the  printer  who  is  to  be  entrusted  with 
the  presswork. 

One  hundred  and  fifty-line  half-tones  are  the  kind  most 
frequently  used  in  fine  Catalogue  and  Booklet  printing. 
They  are  fine  enough  to  show  all  of  the  detail  that  is  ordi- 
narily necessary,  and  at  the  same  time  are  coarse  enough 
not  to  involve  undue  difficulty  in  printing. 

Half-tones  having  finer  screens  must  be  printed  more 
slowly  and  carefully,  and  their  use  in  commercial  literature 
seldom  justifies  the  added  cost,  except  in  the  case  of  objects 
having  fine  detail  that  could  not  otherwise  be  shown  accu- 
rately. 

One  hundred  and  thirty-three-line  half-tones  are  com- 
monly used  for  Catalogues  and  Booklets  which  are  printed 
on  medium  grades  of  coated  papers,  and  on  which  the  best 
presswork  is  not  required. 

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OF       DIRECT        ADVERTISING 


133-line  screen. 


100-line  screen. 


-.1.. 


8s-Iine  screen. 


SO-line  screea 


The  above  half-tones  were  all  made  from  the  same  photograph,  the 
only  difference  being  in  the  "  screens  "  used.  The  150-line  screen  is  the 
one^  most  frequently  used  for  fine  catalogue  and  booklet  work.  The 
50-Iine  half-tone,  used  for  newspaper  work,  shows  plainly  the  character 
of  the  printing  surface  of  the  plate. 


f'  ' 
\i  i 

i 


PRINCIPLES      AND      PRACTICE 

THE  BEST  "  SCREEN  "  FOR  MISCEL- 
LANEOUS USES 

One  hundred  and  thirty-three-line  half-tones  will  work 
well  on  any  coated  stock ;  also,  if  carefully  printed,  on  many 
grades  of  machine-finished  papers.  The  133-line  screen  is 
usually  best  for  cuts  intended  for  miscellaneous  uses. 

For  use  on  uncoated  papers,  particularly  those  not  highly 
finished,  the  half-tone  screen  will  vary  from  120  lines  to  the 
inch,  as  used  in  this  book,  down  to  50  or  60  lines  to  the  inch, 
as  seen  in  newspapers. 


Outlined  half-tone  from  retouched 
photograph.  Compare  with  half- 
tone from  unretouched  photo  of 
the  same  subject 


Square-finished  half-tone  from  un- 
retouched photograph.  Compare 
with  half-tone  from  retouched 
photo  of  the  same  subject. 


An  exception  to  this  is  the  use  of  finer  screen  half-tones 
in  catalogues,  such  as  mail-order  catalogues,  where  because 
of  the  cheap  paper  used  they  do  not  print  well,  but  where 
appearance  is  of  secondary  importance  to  the  preservation 
of  the  details  in  small  articles  that  would  be  lost  if  coarser 
screens  were  used. 

Half-tones   may  be   made  from  any  of  the   following 


copies 


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OF       DIRECT 


ADVERTISING 


34 


HALF-TONES  DIRECT  FROM  OBJECTS.— -A  half- 
tone can  be  made  direct  from  any  object  which  is  suffi- 
ciently flat  —  such  as  a  folded  handkerchief  —  to  be  focused 
sharply  by  the  camera.  This  should  not  be  attempted,  how- 
ever, except  on  the  advice  of  the  engraver  or  other  authority, 
as  the  objects  that  can  be  reproduced  satisfactorily  in  this 
way  are  comparatively  few. 

HALF-TONES  FROM  UNRETOUCHED  PHOTO- 
GRAPHS.— If  the  object  to  be  reproduced  can  be  photo- 
graphed so  that  there  is  sufficient  detail  and  proper  color 
values  in  the  photographic  print,  which  should  be  a  glossy 
print,  it  will  serve  adequately  as  copy  for  the  engraver. 
The  half-tone  process,  however,  can  not  get  more  out  of  a 
photograph  than  there  is  in  it.  Usually  it  gets  somewhat 
less,  by  softening  the  contrasts  and  losing  the  smaller 
details,  and  in  ninety-nine  cases  out  of  a  hundred  the  best 
results  will  not  be  obtained  unless  the  photograph  is 
retouched. 

HALF-TONES  FROM  RETOUCHED  PHOTO- 
GRAPHS.— The  modern  camera  is  a  wonderful  and  invalu- 
able aid  to  the  modern  advertising  man,  but  it  has  its  limita- 
tions. It  doesn't  see  colors  as  Uie  human  eye  sees  them. 
It  doesn't  see  well  in  a  dim  light.  It  can  not  look  at  a  rough 
surface  and  tell  how  it  will  appear  when  polished.  It  can 
not  sec  things  which  are  not  directly  in  its  line  of  vision. 
It  can  not  make  allowances  for  unequal  lighting  on  the 
objects  at  which  it  is  pointed.  For  one  or  another  of  these 
reasons,  sometimes  for  all  of  them  together,  most  commer- 
cial photographs  require  to  be  retouched  before  they  are 
ready  for  the  engraver.  The  retoucher,  by  painting  portions 
of  the  photograph  with  opaque  colors,  corrects  the  faulty 
color  values  and  faulty  lighting,  brings  out  the  details  that 
did  not  show  clearly,  and  in  general  endeavors  to  furnish 
the  engraver  with  a  copy  from  which  he  can  make  an 
engraving  that  will  print  an  accurate  and  veracious  repre- 
sentation of  the  article. 

Sometimes  he  removes  undesirable  portions  of  the 
photograph  —  as  the  background  in  a  picture  of  a  piece  of 

3S 


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PRINCIPLES      AND      P  R  A  C  T  I  C  E 

machinery.  Again  he  may  add  parts  not  shown  in  the 
photograph;  or  he  may  paint  in  imaginary  features  to 
embellish  the  picture,  such  as  trees  and  shrubbery  in  the 
photograph  of  a  house  or  factory. 


"  High-light  "  half-tone  from 
pencil  drawing. 


Half-tone  from  wash  drawing. 


HALF-TONES  FROM  WASH-DRAWINGS.— Many 
objects  that  are  to  be  shown  in  advertisements  can  not  be 
photographed  satisfactorily,  and  where  this  is  the  case,  if  a 
photographic  effect  is  wanted,  it  is  achieved  through  the 
medium  of  a  wash-drawing,  which  is  a  drawing  made  with 
diluted  india  ink  or  water  color,  so  that  it  contains  half- 
tones as  well  as  blacks  and  whites. 

Even  where  objects  can  be  photographed  with  fairly 
good  results,  it  is  sometimes  cheaper  to  make  wash- 
drawings.  Pianos  are  a  case  in  point.  Because  of  the  com- 
paratively small  amount  of  detail  on  them,  less  work  may  be 
involved  in  making  a  wash-drawing  than  in  retouching  a 
photograph,  although  a  piano  is  not  a  particularly  difficult 
subject  to  photograph. 

Wash-drawings  can  be  made  from  sketches  or  blue- 
prints, as  in  the  case  of  a  building  to  be  illustrated  before  its 
erection;  or  from  groups  of  photographs,  as  in  the  case  of 

36 


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^    '   X 


4 


OF       DIRE  CT       ADVERTISING 

buildings  that  can  not  be  photographed  in  their  entirety 
from  any  one  position. 

Bird's-eye  views  of  factories  are  nearly  always,  of  neces- 
sity wash-drawings,  since  few  commercial  photographers 
are  equipped  to  make  balloon  ascensions.  The  necessary 
photographs  are  made  from  various  points  on  the  ground, 
or  from  near-by  buildings,  and  the  "  bird's-eye  view "  is 
constructed  from  these  by  means  of  mathematics,  mixed 
with  a  little  imagination. 

Half-tones  can  be  made  from  any  kind  of  drawing  or 
painting,  including  water-colors  and  oils,  except  that  satis- 
factory one-color  half-tones  can  not  be  made  from  colored 
drawings  or  paintings,  as  a  rule,  unless  the  coloring  has 
been  done  with  one-color  reproduction  in  view. 

Both  half-tones  and  line  engravings  can  be  made  from 
pen,  pencil,  crayon  or  charcoal  drawings. 


■"''''^«nv4^ 


Outlined  half-tones  from  photograph  of  colored  cover-designs. 


37 


PRINCIPLES      AND      PRACTICE 


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SPECIAL  WORK  ON 
HALF-TONES 

The  most  serious  limitation  of 
the  half-tone  process  is  that  it  can 
not  reproduce  either  white  or  black. 
It  renders  white  as  very  light  gray, 
and  black  as  a  very  dark  gray,  thus 
reducing  the  contrast  and  making 
the  reproduction  "  flat "  as  compared 
with  the  original  drawing  or  photo- 
graph. 

This  defect  is  seldom  serious,  and 
ordinarily  it  is  ignored.  Where  it 
is  necessary  or  desirable  to  regain 
the  lost  contrast,  it  is  done  by  "  tool- 
ing" the  plate  after  the  process 
work  has  been  completed. 

The  illustrations  on  opposite 
page  show  this  feature  of  the  proc- 
ess. Both  were  made  from  the  same 
copy  —  a  wash-drawing  in  which  the 
high  lights  were  pure  white  and  the 
deepest  shadows  were  solid  black. 

In  the  illustration  on  the  right, 
the  high  lights  are  light  gray,  while 
the  shadows  are  dark  gray,  neither 
being  the  same  as  the  copy. 

The  other  illustration  is  a  dupli- 
cate plate  in  which  the  light  gray 
portions  have  been  cut  out  of  the 
plate,  leaving  the  high  lights  white; 
and  the  dark  gray  portions  have 
been  burnished  so  they  print  solid 
black. 


The  Half-tone  Process. —  The  portion  inside  the  cross  lines  shows 
the  nearest  approach  to  white  at  one  end  and  to  black  at  the  other  that 
is  possible  without  tooling  or  burnishing.  The  ends  of  the  plate  have 
htta  tooled  and  burnished  to  produce  clear  white  and  solid  black. 

38 


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O  F       DIRECT       ADVERTISING 

This  "tooled"  plate  has  far  more  contrast  than  the 
other,  and  has  a  brighter,  snappier  look.  Many  plates  can 
be  improved  as  much  or  more  by  judicious  tooling,  and  it 
is  well  to  know  its  possibilities. 


Two  half-tones  from  flie  same  wash-drawing,  showing  the  effects  of 
"tooling,"  "burnishing"  and  "reversing."  The  cut  on  the  left  is  an 
exact  reproduction  of  the  drawing,  but  to  produce  the  clear  whites  in 
the  figure  it  was  necessary  to  tool  out  these  portions  of  the  plate  by 
hand.  The  solid  blacks  were  obtained  by  burnishing.  The  cut  on  the 
right,  in  reverse  position,  is  an  ordinary  half-tone  and  lacks  the  brilliant 
contrasts  of  the  other. 


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PRINCIPLES      AND      PRACTICE 


This  work  is  always  charged  for  by  the  engraver,  in 
addition  to  the  cost  of  the  plate.  Ordinarily  it  is  not  done 
without  specific  instructions  from  the  advertiser. 

Where  you  have  reason  to  think  a  plate  would  be  im- 
proved by  tooling,  but  are  not  sure,  you  are  usually  safe  in 
leaving  it  to  the  judgment  of  the  engraver.  It  is  not  neces- 
sary that  the  tooling  be  done  before  delivery  of  the  plate  — 
it  can  be  returned  to  the  engraver  for  tooling  afterward  if 
desired. 


TVV^O,  THREE  AND  FOUR  COLOR 
HALF-TONE  PROCESS- 
PLATES 

For  best  results  color  copy  should  be  used.  The  two- 
color  half-tone  plates  are  usually  employed  for  the  repro- 
duction of  illustrations  or  designs  which  contain  two  con- 
trasting colors.  The  three  and  four  color  process  will 
reproduce  faithfully  almost  any  number  of  colors  or  shades 
of  colors. 

With  two-color  process  color-plates  any  two  contrasting 
colors  may  be  used  in  printing.  Those  most  commonly 
employed  are  black  and  orange,  red  and  green,  blue  and  red. 

In  three-color  process-printing  the  three  so-called  pri- 
mary colors  are  employed  —  red,  yellow  and  blue. 

The  four-color  process  consists  of  the  addition  of  a  black 
plate  to  the  three  primary  colors.  The  use  of  four-color 
process-plates  is  confined  principally  to  the  reproduction  of 
subjects  requiring  accurate  rendition  of  color.  While  very 
faithful  reproductions  of  most  subjects  are  possible  with 
three  colors  there  are  some  requiring  greater  color  accuracy 
and  a  wider  range  of  color. 

On  a  "  color  card  "  sent  out  by  a  paint  manufacturer  or 
interior  decorator,  for  instance,  there  may  be  half  a  dozen 
shades  of  blue,  as  many  shades  of  green,  pinks,  reds,  etc., 


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OF       DIRECT       ADVERTISING 

and  it  is  usually  necessary  to  employ  the  fourth  plate  in 
order  to  faithfully  reproduce  these. 

The  reason  for  this  is  that  with  the  use  of  the  foiuth 
color,  that  is  the  black,  the  engraver  has  a  better  oppor- 
tunity to  manipulate  the  other  three  colors,  so  as  to  obtain 
the  varying  shades  and  the  wide  variety  of  color  such 
subjects  demand. 


PROCESS  "COPY" 

Copy  for  two,  three  or  four  color  process  half-tones 
should  be  in  color,  for  the  reason  that  the  engraver  has  a 
guide  at  all  times  for  the  manipulation  of  his  plates.  The 
chief  reason,  however,  is  that  it  enables  the  engraver  to 
obtain  his  color  separation  in  the  negatives  instead  of  hav- 
ing to  depend  upon  his  judgment  in  etching  and  reetching 
the  plates. 

Where  color-copy  is  furnished  for  three-color  half-tone 
reproduction  the  copy  is  placed  on  the  camera,  and  a  filter 
screen,  consisting  of  celluloid  or  a  fluid  enclosed  in  a  spe- 
cially constructed  glass  container,  is  placed  before  the  lens. 
The  first  negative  made  is  that  for  the  red  plate.  The  color- 
filter  employed  filters  all  the  colors  from  the  subject  except 
the  red.  The  result  is  that  the  red  portions  of  the  subject 
predominate  in  this  particular  negative.  The  filter  is  then 
changed  for  the  blue  plate  and  again  for  the  yellow,  in  each 
case  making  it  possible  for  the  camera  to  emphasize  the 
parts  of  the  subject  required. 

With  these  three  negatives  the  engraver  has  a  much 
better  opportunity  to  work  up  his  plates  than  he  would  have 
were  he  working  from  ordinary  copy,  and  obliged  to  depend 
on  his  judgment  for  his  color  effects. 


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PRINCIPLES      AND      PRACTICE 


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DUOTYPES"  AND  "DUOGRAPHS" 


Duotype  plates  arc  two  half-tones  made  from  the  same 
negative. 

Duograph  half-tones  are  two  half-tone  plates  made  from 
separate  negatives,  these  negatives  being  made  without 
changing  the  focus  or  shifting  the  camera. 

Two-color  half-tones  are  usually  made  from  color-copy, 
and  require  considerable  tooling  or  cutting  out  on  one  or 
the  other  or  both  of  the  plates. 

The  term  two-color  half-tones,  as  explained  above,  usu- 
ally applies  to  plates  printed  in  contrasting  colors.  Duo- 
graph  and  duotype  plates  are  frequently  printed  in  two 
shades  of  the  same  color;  for  instance,  a  sepia  and  a  buff. 
They  are  generally  used  where  a  photographic  or  a  two- 
tone  effect  is  desired. 


REVERSED  HALF-TONES 

The  two  figures  shown  on  page  39  were  made  from  the 
same  drawing,  by  simply  reversing  one  of  the  negatives. 
Similar  "  reversed  "  plates  can  be  made  from  any  drawing. 
Occasionally  they  can  be  used  very  effectively,  particularly 
in  large  folders.  The  phrase  "  reversed  position  "  should  be 
used  in  ordering  such  plates,  as  a  "  reversed  "  plate,  tech- 
nically, is  one  in  which  the  colors  are  reversed;  the  white 
in  the  drawing  being  reproduced  as  black,  and  vice  versa. 
This  is  explained  further  in  the  section  devoted  to  "  Line 
Engravings." 

Care  should  be  exercised  in  the  selection  of  subjects  for 
reversed-position  plates,  for  the  reason  that  reverse  position 
reverses  everything  exactly  as  does  a  mirror. 

A  man's  coat,  for  instance,  is  made  with  buttons  on  the 
right  side  and  buttonholes  on  the  left.  A  reverse-position 
plate  reverses  this  order.  A  left-drive  automobile  if 
reversed  will  appear  as  a  right-hand  drive  car,  etc. 


OF       DIRECT       ADVERTISING 


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"The  predominant  cover"  in  the  automobile  industry.  Over  one- 
fifth  of  all  the  automobile  catalogues  issued  have  BUCKEYE  COVERS. 
The  above  are  a  few  of  them. 


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PRINCIPLES      AND      PRACTICE 


FINISHING  THE  HALF-TONE 

The  style  in  which  the  half-tone  is  finished  is  sometimes 
dictated  by  the  requirements  of  the  job  for  which  it  is 
mtended,  sometimes  by  the  taste  or  fancy  of  the  advertiser, 
and  sometimes  by  the  convenience  of  the  engraver. 

It  is  the  prerogative  of  the  customer  to  specify  the  style 
of  finish.  If  he  does  not  do  so,  the  engraver  will  use  his 
judgment,  and  m  most  cases  this  will  probably  be  eminently 
satisfactory  to  everyone  concerned. 

The  several  finishes,  which  may  be  readily  identified  as 
they  occur  in  the  pages  of  this  book,  are  as  follows: 

SQUARE  (Rectangular).— Half-tones  are  ordinarily 
finished  in  this  style  imless  otherwise  ordered. 

SQUARE  (Rectangular)  WITH  LINE.— A  fine  black 
line  along  each  edge  of  the  plate,  enclosing  it.  Desir- 
able  on  plates  having  light-toned  backgrounds,  as  square 
finished  hali-tones  with  such  backgrounds,  without  an  en- 
closing line,  are  difficult  to  print  properly,  and  do  not  wear 
well. 

OUTLINED.—  Background  cut  away. 

VIGNETTED.— Plate  etched  so  that  the  printed  im- 
pression  has  no  definite  outline,  but  appears  to  gradually 
fade  away  around  the  edges. 

OUTLINED  AND  VIGNETTED.— Plate  partly  out- 
lines  and  partly  vignetted.    See  example  on  page  34. 

PRINTING  THE  HALF-TONE 

ui  "^u®  ^V^^  newspaper  that  comes  to  your  hand  will  prob- 
ably be  a  fairly  representative  sample  of  the  roughest  paper 
on  which  a  coarse-screen  half-tone  can  be  printed  accept- 

^     From  this  as  you  go  up  the  scale  you  will  find  that  just 
m  proportion  as  the  half-tone  becomes  finer  and  the  stand- 


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OF       DIRECT       ADVERTISING 

ard  of  work  higher,  so  the  paper  must  be  smoother,  until 
it  reaches,  in  the  best  coated  stocks,  as  near  an  approach 
to  absolute  fiatness  as  human  skill  has  thus  far  been  able  to 
achieve. 

"  Coated  "  paper  is  paper  surfaced  with  a  special  clay 
which  has  first  been  applied  uniformly  and  then  "  calen- 
dered "  to  the  required  degree  of  smoothness  and  evenness. 
This  is  the  easiest  paper  for  the  printer  to  secure  satisfac- 
tory results  on,  and  is  the  logical  printing  medium  for  the 
majority  of  fine  half-tone  jobs. 


OBJECTIONS  TO  GLOSSY  PAPER 

Glossy  paper  is  objectionable  to  many  people,  however, 
being  undeniably  hard  on  the  eyes  because  of  extent  to 
which  it  reflects  light;  and  the  necessity  for  using  such 
paper,  in  the  preparation  of  artistic  books  and  catalogues, 
has  always  been  considered  one  of  the  disadvantages  of 
the  half-tone  process. 

In  the  recently  introduced  "dull-coated"  paper  the  objec- 
tionable gloss  has  been  eliminated,  although  the  gain  has 
not  been  without  its  corresponding  disadvantages.  The 
cost  and  the  difficulty  of  manipulation  have  both  been 
increased,  while  the  average  results  obtained,  in  clearness 
of  impression  and  faithful  rendering  of  details  in  the  illus- 
trations, are  hardly  equal  to  those  obtained  on  the  glossy 
paper. 

Dull-coated  papers,  too,  soil  more  readily  than  the  glossy 
papers,  and  this  is  a  disadvantage  where  they  are  handled 
a  great  deal. 


ORDERING  "DULL-COATED"  PRINTING 

Where  it  is  proposed  to  use  a  dull-coated  paper,  the 
work  should  be  given  only  to  a  printer  who  has  had  expe- 
rience with  such  papers,  and  who  can  show  samples  that 
demonstrate  his  ability  to  print  them  properly. 

45 


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PRINCIPLES      AND      PRACTICE 

Half-tones  can  be  printed  satisfactorily  on  rough  papers 
by  first  "  hot-stamping  "  or  ironing-out  that  portion  of  the 
paper  which  is  to  take  the  half-tone  impression.  This 
method  is  used  principally  on  covers  and  small  announce- 
ments. 

LINE-ENGRAVINGS 


Zincs, 


Line-engravings,  also  called  zinc  etchings  and 
though  they  are  sometimes  etched  on  copper,  can  be  made 
from  any  "  copy  "  in  which  the  object  or  design  is  repre- 
sented by  solid  lines,  dots,  or  masses  of  color. 

The  "  copy  "  is  almost  always  a  drawing,  and  usually  it 
is  a  pen-drawing,  although  a  brush  is  sometimes  used. 


A  few  popular  "  Ben  Day  "  patterns  or  shading  mediums. 

Pen-drawings,  wherever  possible,  should  be  made  with 
black  india  ink  on  white  paper.  Red,  orange,  dark  blue  and 
dark  green  can  also  be  photographed,  and  it  is  useful  to 
know  this;  but  the  only  legitimate  occasion  for  the  use  of 
any  of  these  colors,  assuming  that  black  ink  is  available,  is 
where  an  artist  desires  to  differentiate  certain  portions  of 
his  drawing,  either  for  the  guidance  of  the  engraver,  or  to 


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give  his  client  a  better  idea  as  to  the  effect  that  is  to  be 
produced. 

Making  the  drawing  in  black  and  red  where  the  plates 
are  to  print  those  colors;  coloring  portions  of  the  drawing 
to  indicate  the  placing  of  "  Ben  Day  "  tints  in  making  the 
plate ;  and  painting  the  sky  in  a  drawing  light  blue  (which 
does  not  photograph),  merely  to  give  the  drawing  a  niore 
finished  look,  are  examples  of  the  use  of  colors  in  line- 
drawings. 

Line-engravings  can  not  be  made  from  wash-drawings, 
photographs  (except  photographs  of  line-drawings),  or  any 
"  copy  "  containing  tints  or  "  half-tones." 

Where  shaded  effects  are  necessary,  they  are  produced 
by  drawing  fine  lines  or  dots  close  together.  These  shaded 
effects  MUST  be  drawn,  for  the  print  from  the  finished  line- 
engraving  is  always  an  exact  reproduction  of  the  original 
drawing.  If  a  zinc  etching  were  to  be  made  from  a  drawing 
containing  gray  tones,  they  would  be  reproduced  as  either 
white  or  black.  There  is  no  provision  for  breaking  them  up 
into  a  fine  pattern  of  lines  and  dots  as  in  the  half-tone 
process. 

THE  "BEN-DAV  PROCESS 

The  only  exception  to  this  is  the  "  Ben  Day  "  process,  by 
which  patterns  of  lines  and  dots  can  be  introduced  into 
designated  portions  of  the  plate.  Examples  of  such  tints, 
and  of  designs  containing  them,  are  shown  on  accompany- 
ing pages. 

Real  shading  can  be  introduced  into  a  plate  by  the  "  Ben 
Day  "  process  —  that  is,  gradations  from  a  light  to  a  dark 
tint  can  be  produced ;  but  such  work  is  both  expensive  and 
uncertain,  and  unless  the  advertiser  has  reason  to  be  pretty 
sure  of  the  result  in  advance,  he  will  do  well  not  to  order 
such  special  work  done  on  his  plates,  unless  the  circum- 
stances are  such  that  he  feels  warranted  in  paying  for 
experiments. 

47 


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PRINCIPLES      AND      PRACTIC  E 

Ordinary  "  Ben  Day  "  work,  the  laying  of  flat  tints  on 
certain  portions  of  a  plate,  is  not  open  to  this  objection,  and 
it  often  gives  color  and  contrast  to  a  design  which  without 
it  would  appear  dull  and  lifeless. 

The  "  Ben  Day  "  process  is  not  utilized  to  anything  like 
the  extent  it  should  be,  and  a  knowledge  of  its  possibilities 


Zinc  etching  from  stipple  drawing.       Zinc  etching  from  line  drawing 


(as  well  as  its  limitations)  should  be  part  of  the  equipment 
of  every  advertising  man,  as  also  of  every  merchant  and 
manufacturer  who  has  occasion  to  concern  himself  with 
the  preparation  and  publication  of  his  own  advertising. 

ADVANTAGES  OF  LINE-ENGRAVINGS 

The  half-tone  has  already  been  referred  to  as  the  cheap- 
est and  best  means  (in  general)  of  obtaining  printed  repro- 
ductions of  pictures  or  designs  or  objects. 

This  is  perfectly  true,  but  it  is  nevertheless  a  rule  to 
which  there  are  important  exceptions,  and  the  line-engrav- 
ing provides  such  exceptions  at  both  ends  of  the  scale. 

48 


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OF       DIRECT       ADVERTISING 

The  line-engraving  for  some  purposes  is  a  great  deal 
cheaper  than  the  half-tone,  the  drawing  or  other  "  copy  " 
being  considered  part  of  the  cost  in  both  cases;  and  for 
other  purposes  it  is  a  great  deal  better  than  the  half-tone, 
although  it  costs  more. 

A  dishpan,  for  instance,  is  a  very  difficult  object  to 
photograph.  If  polished,  it  must  first  be  gone  over  with 
putty  or  some  similar  substance  to  "  kill "  the  reflections, 
and  even  then  the  photograph  will  not  be  good  enough  to 
serve  as  copy  for  a  half-tone  until  considerable  "  retouch- 
ing "  has  been  done  upon  it. 

A  reproduction  of  a  dishpan  by  this  method  would  be 
decidedly  expensive,  yet  it  would  tell  nothing  more  about 
the  pan  than  its  SHAPE;  and  the  shape  is  so  simple  that 
an  artist  could  draw  it  with  a  pen  in  far  less  time  than  he 
could  retouch  the  photograph. 


WHEN  LINE-ENGRAVINGS  ARE 

EXPENSIVE 

An  intricate  wall-paper  or  carpet  pattern,  on  the  other 
hand,  can  be  readily  and  successfully  photographed; 
whereas,  to  make  a  pen-drawing  of  such  a  design  would  be 


Line  engraving  from  pen-drawing  made  over  "  silver  print "  of  photo- 
graph.   (Mill  of  The  Beckett  Paper  Co.) 


PRINCIPLES      AND      PRACTICE 

a  long  and  tedious  and  expensive  proceeding,  and  the  fin- 
ished line-engraving,  with  the  cost  of  the  drawing  added  in, 
would  be  far  higher  than  that  of  the  half-tone.  The  same 
would  be  true  of  automobiles  or  buildings,  or  any  articles 
or  objects  having  irregular  outlines  and  a  great  deal  of 
detail. 


Vignetted  half-tone  from  photograph  of  wash-drawing 
(Mill  of  The  Beckett  Paper  Co.) 


Line-drawings,  with  the  engravings  made  from  them, 
are  cheaper  than  half-tones  when  the  objects  to  be  repre- 
sented are  simple;  and  retouched  photographs,  with  the 
half-tones  made  from  them,  are  cheaper  when  the  objects 
are  complicated  and  full  of  detail.* 

•This  comparison  is  somewhat  modified  by  the  size  of  the  plates, 
Line-engravings  cost  less  than  half  as  much  per  square  inch  as  half-tones, 
and  a  very  large  reproduction  in  line  might  therefore  be  cheaper  than  a 
half-tone,  even  though  the  line-drawing  cost  more  than  a  photograph.  Line- 
drawings  of  photographic  subjects  also  cost  less  where  photographs  arc 
available,  since  the  drawing  can  be  made  over  a  "  silver  print "  of  the  photo- 
graph, as  in  the  example  shown  on  page  49. 

50 


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The  cost,  however,  is  not  always  the  principal  factor 
that  is  considered  in  determining  whether  line-engravings 
or  half-tones  shall  be  used. 

Half-tones  are  often  used  where  "zincs"  would  have 
been  cheaper,  and  vice  versa,  for  the  sake  of  the  general 
EFFECT  that  will  be  produced,  as  distinguished  from  the 
mere  faithful  representation  of  the  article  advertised. 


(( 


ATMOSPHERE"  AS  A  SELLING 

FACTOR 

A  notable  instance  of  this  is  the  growing  use  of  line- 
engravings  for  the  purpose  of  introducing  "  atmosphere " 
into  the  better  grades  of  advertising  literature. 

It  is  often  said  that  a  camera  tells  the  facts,  but  doesn't 
tell  the  truth,  and  while  this  sounds  paradoxical,  it  is  never- 
theless a  very  accurate  statement  of  the  camera's  principal 
limitation. 

A  photograph  tells  you  how  a  thing  IS,  but  not  how  it 
LOOKS,  and  this  is  why  you  can  often  view  a  photograph 
of  a  familiar  place  or  scene  unmoved,  while  a  painting 
"  takes  you  back  "  to  the  place  in  a  moment,  even  though 
many  of  the  details  shown  in  the  photograph  may  be  absent 
from  the  painting. 

The  photograph  gives  you  the  facts ;  but  it  requires  the 
brush  of  the  artist  to  give  you  the  truthful  impression  that 
makes  you  feel  as  though  you  were  really  there. 

Something  of  this  sort  is  what  the  more  progressive 
commercial  artists  are  now  seeking,  and  with  considerable 
success,  to  introduce  into  commercial  literature  —  not  mere 
illustrations  of  automobiles,  but  pictorial  impressions  of 
people  enjoying  rides  in  automobiles ;  not  mere  illustrations 
of  furniture,  but  pictorial  impressions  of  rooms  with  the 
furniture  in  them,  designed  to  make  you  feel  as  if  you  were 
actually  in  the  room  yourself;  not  mere  illustrations  of 
electric  fans,  but  pictorial  impressions  of  people  enjoying 
the  breezes  produced  by  the  fans  —  and  so  on. 

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PRINCIPLES       AND       PRACTICE 

GREATER  FIDELITY  OF  LINE- 
ENGRAVINGS 

The  best  of  this  "  impressionistic  "  work  is  done  in  line 
for  the  reason  that  the  line-engraving  process  reproduces 
the  artist's  drawing  exactly  as  it  is.  It  reproduces  mass  for 
mass,  line  for  line  and  dot  for  dot;  whereas  the  half-tone, 
in  reproducing  a  painting  or  wash-drawing,  as  has  been 
already  explained,  yields  an  assemblage  of  TONES  which 
may  or  may  not  —  and  usually  does  not  —  result  in  an  abso- 
lutely faithful  rendering  of  the  original. 

In  making  a  drawing  for  half-tone  reproduction,  the 
artist  is  obliged  to  make  some  allowance  for  the  limitations 
of  the  process.  He  must  make  his  drawing  somewhat  more 
contrastive  —  "  contrasty  *'  the  engravers  call  it  —  than  he 
wishes  the  finished  print  to  be,  and  must  guess  as  to  how 
much  of  the  contrast  will  be  lost.  When  he  makes  a  draw- 
ing for  line  reproduction,  he  KNOWS  in  advance  exactly 
what  the  result  will  be.  Whatever  he  puts  into  the  drawing 
will  come  out  in  the  print. 

ZINC  COLORWORK  AND 
TINT-BLOCKS 

As  explained  under  the  head  of  zinc  etching,  such  plates 
are  made  from  line  or  pen-and-ink  drawings.  Where  more 
than  one  color  is  to  be  used  it  is  the  rule  to  submit  a  pre- 
liminary color-sketch  showing  the  actual  colors  and  the 
effect  expected  in  the  final  printed  result. 

When  the  color-sketch  has  been  approved,  a  "  Working  *' 
drawing  is  made.  This  consists  of  a  pen-drawing  made  with 
india  ink  on  white  paper  —  carrying  the  essential  parts  of 
the  design  or  picture  —  and  so  manipulated  as  to  make  it 
possible  for  the  engraver  to  render  the  color  effect  shown  in 
the  original  or  preliminary  sketch. 

If  the  job  is  to  print  in  three  colors,  the  engraver  makes 
one   negative   from   the   line-drawing,   reducing   it  to  the 

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required  size,  and  then  makes  three  prints  from  this  nega- 
tive on  zinc. 

Assuming  that  the  copy  is  to  print  in  black,  red,  and 
blue,  the  print  intended  for  the  black  plate  usually  carries 
the  complete  picture  or  design.  That  intended  for  the  red 
plate  is  taken  up  by  a  color-etcher,  and  he  removes  every- 
thing from  the  plate  except  that  portion  which  is  to  print 
red.    The  same  treatment  is  given  the  blue  plate. 

It  is  always  advisable  to  employ  a  black  plate  in  zinc 
colorwork.  This  plate  to  serve  as  the  key-plate  —  that  is, 
the  plate  which  reproduces  the  picture.  There  may  not  be 
a  particle  of  black  in  the  object  to  be  pictured,  but  unless 
a  black  outline  is  shown  there  is  always  a  tendency  to 
weakness. 

Zinc  colorwork  ranges  anywhere  from  two  to  six,  seven 
and  eight  printings,  and  wonderful  effects  are  possible 
where  the  colors  are  properly  manipulated. 

The  Ben  Day  process  plays  an  important  part  in  zinc 
colorwork,  by  making  it  possible  to  produce  many  tints  of 
the  same  color  with  one  printing  from  a  single  plate. 

If  one  portion  of  a  design  is  to  print  red  while  another 
portion  is  to  be  light  pink,  it  is  not  necessary  to  print  these 
colors  separately.  The  pink  can  be  produced  by  Ben 
Daying  the  red  plate,  just  as  gray  was  produced  by  Ben 
Daying  portions  of  several  of  the  black  plates  that  are 
shown  in  this  book. 


TINT-PLATES 

A  zinc  tint-plate  usually  consists  of  a  solid  piece  of  zinc 
for  use  as  a  foundation  or  panel  for  a  type-page.  Fre- 
quently a  border  line  is  cut  into  this  plate  so  that  the 
border  itself  will  print  white.  Such  plates  are  used  for 
embellishing  type-pages,  and  there  is  nothing  more  effective 
for  the  purpose  and  really  nothing  less  expensive.  The 
tint-plate  is  usually  printed  in  some  very  light  tint,  such  as 
a  buff,  very  delicate  blue  or  gray. 

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PRINCIPLES       AND       PRACTICE 


PRINTING  LINE-ENGRAVINGS 

Line-engravings  can  be  printed  on  any  kind  of  paper, 
but  where  rough  paper  is  to  be  used  the  engraving  should 
be  made  with  this  end  in  view.  A  line-engraving  contain- 
ing very  fine  detail  requires  smooth  paper  for  satisfactory 
printing,  just  as  the  half-tone  does.  Consult  your  engraver 
and  printer  before  ordering  line-engravings  containing  fine 
detail,  if  the  work  is  to  be  done  on  any  but  a  smooth- 
finished  paper. 

REVERSED  "ZINCS'* 

Line-engravings  can  be  made  exactly  like  the  drawing, 
or  can  be  "reversed"  as  to  either  color  or  position,  as 
explained  under  "  Half-Tones."  Examples  of  reversed- 
position  half-tones  and  reversed-color  zincs  will  be  found  on 
accompanying  pages.  (See  page  facing  this  for  "  Reversed- 
Color  "  zincs,  in  combination  with  Ben  Day  tints.) 

WOODCUTS 

In  the  preceding  "  Line-Engraving "  section,  some  of 
the  limitations  of  the  half-tone  have  been  touched  upon. 
There  is  one  other,  however,  which,  while  not  so  serious  as 
those  already  mentioned,  is  nevertheless  sufficient  to  make 
it  worth  while  for  advertisers  to  use  the  more  expensive 
wood  engraving  for  certain  kinds  of  work. 

The  half-tone  reproduces  TONES  fairly  accurately,  but 
it  can  not  differentiate  between  different  TEXTURES 
having  the  same  tone.  This  is  a  limitation  of  photography 
rather  than  of  the  half-tone  process,  but  it  is  the  finished 
plate  that  the  advertiser  is  concerned  with,  and  in  this  he 
can  not  get  the  effects  that  are  sometimes  necessary,  if  the 
object  reproduced  is  to  appear  exactly  as  seen  by  the  eye. 

A  piece  of  wood  and  a  piece  of  iron,  for  instance,  if  they 
reflect  the  same  amount  of  actinic  light,  will  look  exactly 
alike  if  reproduced  in  half-tone,  although  to  the  eye  they 
may  be  entirely  different.     The  same  is  true  of  any  two 

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PRINCIPLES      AND      PRACTICE 

substances,  or  any  portions  of  an  object  which  have  the 
same  color  with  different  textures,  or  which  have  different 
colors  that  happen  to  photograph  alike. 

The  woodcut  overcomes  this  difficulty,  because  in  mak- 
ing it  the  artist  deals  with  textures  as  well  as  tones;  he 
can  control  the  direction  and  character  of  the  lines  and  dots 
that  form  the  design,  as  well  as  the  general  effect. 


Woodcut  from  photograph. 

The  woodcut,  therefore,  permits  a  much  more  faithful 
rendering  of  detail  in  mechanical  subjects  than  is  possible 
in  either  the  half-tone  or  the  line-engraving. 

Woodcuts  can  be  made  from  any  copy,  but  those  used 
in  advertising  are  usually  made  from  photographs  of  the 
articles  represented,  the  photographic  image  being  trans- 
ferred to  the  wood  block,  which  is  then  tooled  by  hand. 

PRINTING  THE  WOODCUT 

Woodcuts  can  be  printed  on  any  kind  of  paper,  but  the 
same  restriction  applies  as  in  the  case  of  the  line-engraving 
—  if  rough  paper  is  to  be  used,  the  cut  must  be  made  accord- 
ingly. 

So  far  as  advertising  is  concerned,  woodcuts  are  usually 
resorted  to  as  a  means  of  showing  details  that  could  not  be 
reproduced  properly  by  the  half-tone  or  line-engraving 
processes,  and  this  means,  af  course,  that  they  are  usually 
printed  on  smooth  papers. 

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SIZES  OF  DRAWINGS 

Drawings,  photographs  and  other  copies  for  reproduc- 
tion should  be  somewhat  larger  than  the  finished  engrav- 
ings that  are  to  be  made  from  them.  Often  they  are  made 
several  times  as  large;   there  is  no  general  rule. 

Some  artists  prefer  to  make  certain  kinds  of  drawings 
as  nearly  the  size  of  the  finished  plates  as  possible,  in  order 
the  better  to  judge  of  the  effect  as  the  work  proceeds. 
Others  prefer  to  make  very  large  drawings,  for  the  reason 
that  larger  drawings  require  less  careful  handling,  and  can 
often  be  done  with  a  brush  instead  of  a  pen,  thus  securing 
"  broad  "  effects  that  otherwise  would  be  out  of  the  ques- 
tion. 


mmwimn!' 


)VE 
NUT 


■s^- 


Four  trade-mark  cuts  from  the  same  drawing.    Notice 
"  filling-up  "  of  the  smallest  cut. 

Photographs  require  much  more  careful  retouching  when 
they  are  nearly  the  size  of  the  finished  plate  than  when  they 
are  considerably  larger,  and  this  is  an  unnecessary  expense 
that  should  be  avoided  wherever  possible. 

Where  a  number  of  photographs  are  to  be  made  for  half- 
tone reproduction,  it  is  best  to  consult  the  engraver  as  to 
the  most  suitable  size.  The  size  of  drawings  as  a  rule  can 
be  left  to  the  discretion  of  the  artist,  provided  he  has  had 
some  commercial  experience,  and  knows  the  size  the  fin- 
ished plates  are  to  be  made. 

Note. — As  a  rule  many  diflferent  sizes  of  cuts  can  be  made  from  the  same  draw- 
inj?,  but  there  is  always  a  limit  beyond  which  reduction  can  not  be  carried  without 
"  losing  "  some  of  the  detail  in  the  design.  Compare  the  largest  and  smallest  of 
the  above  trade-mark  cuts.  If  another  cut  half  the  size  of  the  smallest  had  been 
made  from  the  same  drawing,  the  white  lettering  on  the  black  ground  would  have 
been  entirely  illegible. 

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PRINCIPLES       AND       PRACTICE 


(( 


SCALING"  A  DRAWING 


It  frequently  happens  that  an  advertiser,  having  before 
him  a  drawing  from  which  a  cut  is  to  be  made,  wishes  to 
know  how  high  the  cut  will  be  if  it  is  made  a  certain  width, 
or  vice  versa.  , 

Taking  the  accompanying  diagram  as  an  example,  and 
letting  the  outline  represent  a  drawing  7^/2  inches  wide  by 
4%  inches  high,  suppose  it  is  proposed  to  make  a  cut  3^ 
inches  long  —  what  will  be  its  height? 


Proportionate  reduction  or  enlargement.  The  diagonal  line  shows 
the  shaded  space  to  be  in  exact  proportion  to  the  large  outline.  Sec 
explanation  in  text 

Figuring  it  arithmetically,  the  problem  is  one  in  simple 
proportion,  and  is  set  down  this  way : 
754   :  454  ::  3^  :  x. 

Multiplying  A3^  by  3^  and  dividing  by  7%,  we  obtain 
2^  as  the  value  of  x,  which  is  the  height  in  inches  of  the 
proposed  engraving. 

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A  much  simpler  method,  however,  and  one  that  allows 
of  experimenting  with  various  sizes  without  endless  figur- 
ing, is  to  draw  a  diagonal  line  on  the  drawing,  as  shown  in 
the  diagram,  and  use  this  as  a  basis  for  the  determination 
of  all  size  and  proportion  questions  that  may  arise. 

If  it  is  proposed  to  make  a  cut  a  certain  width,  the 
height  is  obtained  by  measuring  off  the  width  along  the 
lower  margin  of  the  drawing,  then  measuring  the  vertical 
distance  from  the  point  thus  obtained  to  the  diagonal  line. 
This  distance  will  be  the  height  of  the  drawing. 

Conversely,  if  the  proposed  height  of  the  cut  is  known, 
the  width  is  obtained  by  laying  off  the  height  on  the  left 
border  of  the  drawing,  beginning  at  the  lower  corner,  then 
measuring  horizontally  from  the  left  margin  to  the  diagonal 
line.  The  horizontal  distance  between  the  two  will  be  the 
width  of  the  drawing. 

Where  the  character  of  the  drawing  permits,  the  diag- 
onal line  can  be  drawn  very  lightly  with  a  hard  pencil.  This 
should  not  be  attempted  on  wash-drawings  or  photographs, 
however.  The  same  result  can  be  closely  approximated 
by  using  a  piece  of  string  for  the  diagonal,  or  by  covering 
the  face  of  the  drawing  with  a  piece  of  tracing-paper,  and 
penciling  the  diagonal  on  that. 

If  the  drawing  to  be  scaled  down  has  no  rectangular 
outline,  it  is  of  course  necessary  to  provide  one,  and  this 
should  be  done  carefully  with  a  T  square,  making  sure  that 
all  portions  of  the  drawing  are  inside  the  rectangle. 

INSTRUCTIONS  TO  THE  ENGRAVER 

Drawings  or  photographs  sent  to  the  engraver  should 
bear  clear  instructions  as  to  the  character  and  dimensions 
of  the  plate  or  plates  that  are  to  be  made.  If  the  drawing 
is  known  to  be  correctly  proportioned,  it  is  sufficient  to 
indicate  the  width  or  height  of  the  cut  that  is  to  be  made. 
If  this  point  is  in  doubt,  however,  both  dimensions  should 
be  given,  and  it  will  then  devolve  upon  the  engraver  to  call 
attention  to  any  discrepancy. 

59 


PRINCIPLES   AND   PRACTICE 


ELECTROTYPES 

Where  more  than  one  printing-plate  of  the  same  size  is 
required  from  the  same  design,  it  is  not  necessary  that  each 
plate  be  an  original  engraving.  By  the  electrotype  process 
as  many  duplicates  as  may  be  wanted  can  be  made  from  a 
single  original,  and  at  a  fraction  of  its  cost,  whether  it  be  a 
half-tone,  line-engraving  or  woodcut. 

ORDINARY  ELECTROTYPES,  the  kind  the  electro- 
typer  furnishes  unless  another  kind  is  specified,  are  wax- 
moulded,  and  are  satisfactory  for  all  classes  of  engravings 
except  those  having  fine  detail  and  intended  for  high-grade 
work. 

LEAD-MOULDED  ELECTROTYPES  are  used  where 
it  is  necessary  to  reproduce  fine-screen  half-tones  and  other 
fine-detail  plates  with  absolute  fidelity.  Wax-moulded 
electrotypes  from  such  plates  are  slightly  inferior  in  print- 
ing quality  to  the  originals,  whereas  when  the  electrotypes 
are  lead-moulded,  they  print  exactly  as  well  as  the  original 
plates.  Lead-moulded  electrotypes  are  now  used  exten- 
sively for  the  better  grades  of  colorwork. 

NICKELTYPES  are  nickel-plated  electrotypes.  The 
nickel-plating  is  sometimes  added  to  improve  the  wearing 
.qualities  of  electrotypes  from  which  a  large  number  of 
impressions  are  to  be  taken ;  but  more  often  the  purpose  of 
it  is  to  eliminate  difficulties  that  are  encountered  when 
printing  in  colors  from  ordinary  electrotypes.  Some  colored 
inks,  and  particularly  reds,  contain  substances  that  set  up 
chemical  action  when  they  come  in  contact  with  copper,  so 
that  the  colors  may  be  changed  considerably  while  the  work 
is  in  process.    With  nickeltypes,  this  trouble  does  not  occur. 

ELECTROTYPES  FROM  TYPE-FORMS,  or  from 
forms  containing  both  type  and  engravings,  can  be  made  as 
readily  as  from  individual  engravings  alone.    The  elcctro- 

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typer  can  handle  anything  you  give  him,  from  the  size  of  a 
postage-stamp  up  to  the  size  of  a  newspaper  page  and 
larger. 

ELECTROTYPES  FROM  ELECTROTYPES  are  not 
quite  as  good  as  electrotypes  made  from  original  plates,  and 
it  is  not  advisable  to  order  them  where  it  can  be  avoided. 


MOUNTING  ELECTROTYPES 

MOUNTING  ON  WOOD.— Unless  otherwise  specified, 
electrotypes  are  mounted  on  wood  by  the  electrotyper,  the 
completed  plates  as  delivered  being  type-high.  The  great 
majority  of  electrotypes  are  wood-mounted,  and  this  style 
of  mounting  is  entirely  satisfactory  for  all  ordinary  work. 

MOUNTING  ON  METAL.— Where  electrotypes  are  of 
such  a  nature  that  a  great  deal  of  pressure  will  be  required 
to  print  them  properly,  as  is  the  case  with  electrotypes  of 
large  half-tones,  and  particularly  if  such  electrotypes  are  to 
be  used  for  long  press  runs,  they  are  often  mounted  on  metal 
instead  of  wood,  the  metal  base  being  more  rigid,  and  less 
likely  to  yield  under  excessive  pressure  or  other  hard  usage. 

PATENT  BASES.— Many  printers  use  patent  bases  for 
certain  kinds  of  work,  principally  catalogues  and  booklets, 
but  occasionally  small  jobs  of  close-register  colorwork  also. 
There  are  several  types  of  these  patent  bases,  but  the  princi- 
ple of  all  of  them  is  the  same  —  they  permit  unmounted 
electrotypes  and  other  plates  to  be  assembled  and  registered 
in  a  form  much  more  readily  than  is  possible  where  mounted 
plates  are  assembled  and  locked  up  in  a  chase  with  ordinary 
"  furniture."  Plates  for  use  on  patent  blocks  must  be  of  a 
prescribed  thickness  and  should  have  the  edges  beveled  at 
a  certain  angle,  according  to  the  make  of  block.  Such 
unmounted  plates  are  cheaper  than  mounted  ones.  The 
printer  should  notify  the  customer  when  "  patent-block " 
plates  arc  wanted. 

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PRINCIPLES      AND      PRACTICE 

HOW  ELECTROTYPES  CUT  PRINTING 

COSTS 

If  you  were  getting  out  a  hundred  thousand  small  book- 
lets, or  folders,  or  blotters,  or  letter-heads,  it  would  be  a 
sheer  waste  of  money  to  have  them  printed  one  at  a  time. 
By  making  duplicate  sets  o^  plates  (electrotypes),  several 
complete  pieces,  or  one  side  of  several  complete  pieces,  could 
be  printed  on  a  large  sheet  at  a  single  impression,  and  the 
saving  in  presswork  would  much  more  than  offset  the  cost 
of  the  electrotypes. 

All  large  editions  of  small  advertising  forms,  and  some- 
times of  comparatively  large  forms,  are  printed  most  eco- 
nomically in  this  way,  the  number  printed  at  a  single 
impression  being  determined  by  ascertaining  the  point  at 
which  the  cost  of  the  electrotypes,  extra  make-ready,  etc., 
equals  or  exceeds  the  saving  in  presswork.  This  is  usually 
figured  by  the  printer,  and  it  is  customary  for  the  printer, 
in  submitting  his  estimate,  to  state  the  number  of  sets  of 
plates  that  he  will  require  —  or  the  number  that  he  plans  to 
furnish,  if  the  electrotypes  are  included  in  his  estimate. 

The  multiple  printing  of  the  same  design  is  the  most 
obvious  of  the  advantages  conferred  upon  the  advertiser  by 
the  electrotype  process,  but  it  is  by  no  means  the  only  way 
in  which  electrotypes  can  be  used  to  cut  printing  costs, 
avoid  undue  loss  risks,  and  maintain  uniform  quality  in  the 
printing. 

WHEN  ORIGINAL  PLATES  ARE  COSTLY  it  is 
always  advisable  to  print  from  electrotypes,  preserving  the 
original  plates,  since  if  an  original  plate  is  damaged  the  cost 
of  replacing  it  will  be  many  times  the  cost  of  replacing  a 
damaged  electrotype. 

WHEN  LONG  PRESS  RUNS  ARE  REQUIRED,  it  is 
advisable  to  print  from  electrotypes,  not  only  to  preserve 
the  original  plates,  but  also  to  maintain  the  quality  of  the 
work,  a  second  set  of  electrotypes  being  made  from  the 
original  plates  and  put  on  the  press  as  soon  as  the  first  set 

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has  become  enough  worn  so  that  they  do  not  produce  satis- 
factory results. 

WHEN  DESIGNS  ARE  TO  BE  REPRINTED  RE- 
PEATEDLY, the  original  plates  should  be  used  only  for 
making  electrotypes,  thus  assuring  a  perfect  printing-plate 
for  each  job. 

TYPE-FORMS  should  be  electrotyped  if  it  is  antici- 
pated that  later  reprints  will  be  required,  unless  arrange- 
ments can  be  made  with  the  printer  to  keep  the  type  stand- 
ing for  less  than  the  electrotypes  would  cost,  and  this  is 
hardly  likely  to  be  the  case,  particularly  if  the  type  is  hand- 
set foundry  type.  It  is  also  advisable  to  make  electrotypes 
of  type  that  has  been  set  up  for  a  long  run  or  for  a  job  to  be 
printed  on  very  rough  or  very  soft  paper,  either  of  which 
may  wear  the  type  to  the  point  where  it  will  not  produce 
satisfactory  impressions,  long  before  the  run  has  been  com- 
pleted. Many  printers  will  not  print  directly  from  the  more 
desirable  type-faces  that  they  use  for  setting  up  fine  cata- 
logues and  booklets  —  they  figure  that  they  give  all  of  their 
customers  better  service  by  insisting  that  every  such  job  be 
electrotyped,  thus  assuring  perfect  printing-plates,  the 
equivalent  of  brand-new  type,  in  every  case. 

SOLDERING  JOINTS  IN  RULE  — Where  a  type- 
form  has  a  rule  border,  particularly  if  the  border  is  made 
up  of  two  or  more  parallel  rules  joined  at  the  corners,  it 
usually  pays  to  have  the  form  electrotyped,  instructing  the 
electrotyper  to  solder  the  joints  in  the  rule.  These  will 
show  to  a  greater  or  lesser  extent  if  the  printing  is  done 
direct  from  the  type-and-rule  form,  the  joints  in  the  rule- 
work  sometimes  being  quite  noticeable. 


63 


PRINCI  P  LES       AND       PRACTICE 


I 


A  group  of  representative  "BUCKEYE-COVERED"  catalogues  and 
booklets.    All  but  one  were  printed  from  line-engravings. 


OF        DIRECT        ADVERTISING 


HINTS  ON  COPY-WRITING 

Advertising,  as  already  stated  in  the  introduction  to  this 
book,  is  not  an  exact  science,  but  this  does  not  mean  that  it 
is  not  a  science,  and  still  less  does  it  mean  that  the  writing 
of  successful  advertisements  is  something  that  can  be  mas- 
tered by  rule  of  thumb. 

The  best  advertising  is  unquestionably  written  by 
experts,  men  who  have  learned  to  do  the  thing  by  DOING 
it,  and  wherever  an  important  campaign  is  to  be  undertaken, 
or  even  a  single  advertisement  published,  it  is  best  to 
employ  an  expert  if  one  is  available. 

It  often  happens,  however,  that  a  man  who  is  not  an 
expert  is  confronted  with  the  necessity  of  writing  his  own 
or  someone  else's  advertisement ;  or  perhaps  he  desires  to 
write  advertising,  in  order  that  he  may  gain  the  experience 
which  in  time  will  make  him  an  expert,  provided  he  has  the 
requisite  natural  ability.     How  shall  such  a  man  proceed? 

Many  writers  and  lecturers  on  advertising  have  a  glib 
bit  of  advice  that  has  been  constructed  to  meet  this  contin- 
gency. They  tell  you  to  "  write  as  you  would  talk,"  and 
they  have  repeated  this  so  often,  in  one  form  or  another,  that 
by  many  it  has  probably  come  to  be  accepted  as  a  sort  of 
fixed  principle  of  salesmanship-on-paper,  something  perma- 
nent and  immutable,  like  the  law  of  gravitation. 


ADVICE  SHOULD  BE  TAKEN  WITH 
DISCRIMINATION 

The  man  who  wishes  to  use  the  printed  word  effectively 
as  a  means  of  making  sales,  should  not  be  led  astray  by  the 
constant  reiteration  of  this  phrase.  He  should  not  ignore 
it,  but  neither  should  he  follow  it  blindly.  He  should  apply 
it  discriminatingly.  He  should  take  it,  like  most  other 
advice,  with  a  little  salt. 

65 


..mmeim^m^ 


» 


PRINCIPLES       AND       PRACTICE 

One  writer  has  indeed  supplied  a  formula  with  which 
you  may  test  for  yourself  the  soundness  of  this  "  write-as- 
you-would-talk  "  prescription.  You  memorize  an  advertise- 
ment that  has  a  '*  literary  "  flavor,  one  that  does  not  sound 
like  "  talk."  You  then  repeat  it  to  someone,  preferably  a 
prospective  customer,  when  its  absurdity  becomes  immedi- 
ately apparent. 


HOW  TALK  "  SOUNDS "  IN  PRINT 

This  is  a  good  test,  and  in  many  cases  it  will  work  out 
exactly  as  stated.  Carry  it  a  little  farther,  however,  by 
reading  the  transcribed  report  of  an  oral  selling  effort,  and 
you  will  see  that  the  converse  of  the  proposition  is  also 
true :  a  good  "  talk  "  may  "  sound  "  as  bad  when  you  read 
it  instead  of  listening  to  it  as  does  a  printed  advertisement 
when  you  listen  to  it  instead  of  reading  it. 

Read  a  printed  report  of  a  sermon  by  Billy  Sunday,  and 
you  will  get  the  full  force  of  this  distinction.  Billy  has 
"punch"  plus  on  the  platform,  but  mighty  little  in  print. 

What  he  says  is  not  particularly  interesting  or  impres- 
sive when  you  read  it.  It  is  THE  WAY  HE  SAYS  IT  that 
enables  him  to  sway  huge  audiences  as  he  does,  and  that 
has  made  him  the  most  successful  evangelist  of  his  time. 

If  printed  "  talk  "  does  not  serve  the  turn  of  evangelism, 
how  much  less  can  it  be  depended  upon  to  serve  the  turn  of 
advertising,  where  the  problem  is  so  much  more  particular 
and  difficult! 

The  evangelist,  whether  in  the  pulpit  or  through  the 
medium  of  the  newspaper,  is  talking  to  a  mixed  audience. 
He  is  dealing  with  human  nature  in  the  mass. 

The  advertiser  talks  to  a  mixed  audience  in  his  printed 
advertisements,  but  when  the  message  is  carried  by  a  sales- 
man, the  talk  is  nearly  always  to  individuals,  and  it  does 
not  suffice  for  the  salesman  to  know  human  nature  in  a 
general  way.    He  must  know  it  in  all  its  particular  manifes- 

66 


J 


k 


OF       DIRECT       ADVERTISING 

tations.  He  must  be  able  to  classify  individuals  as  he  meets 
them,  and  must  know  how  to  shape  his  appeal  in  conform- 
ity with  their  tastes  and  inclinations,  taking  advantage  of 
their  weaknesses,  if  they  have  any,  and  being  guided  con- 
tinually by  their  response,  or  their  lack  of  response,  to  his 
solicitation. 

HOW  TO  SELL  A  MOP 

Imagine  a  salesman  making  a  house-to-house  canvass, 
introducing  a  patent  labor-saving  mop.  At  one  door  he  is 
met  by  a  woman  who  is  obviously  indolent  —  one  who 
regards  housework  as  drudgery,  and  the  less  of  it  she  has 
to  do  the  better.  At  the  next  door  the  woman  has  a  brisk, 
energetic  appearance,  and  she  wears  an  air  of  impatience 
at  having  been  called  away  from  her  work. 

The  same  appeal  will  not  work  with  both  these  women. 
The  lazy  woman  would  not  be  impressed  by  a  talk  about 
the  greater  amount  of  work  she  could  do  if  she  had  the 
patent  mop;  nor  would  the  energetic  woman  be  attracted 
by  the  prospect  of  getting  her  work  out  of  the  way  by  two 
o'clock,  so  that  she  could  take  the  afternoon  off. 

The  salesman  talks  "  less  work "  to  the  lazy  woman, 
"  more  work  "  to  the  lively  one,  and  so  sells  a  mop  to  each. 

Now,  suppose  this  mop  is  to  be  advertised  by  means  of 
a  circular  or  booklet  mailed  to  both  women  —  and  to  thou- 
sands of  others,  each  of  whom  has  her  own  peculiarities? 
Is  it  not  obvious  that  neither  of  these  "  talks  "  will  do,  and 
that  the  printed  advertising  must  contain  solicitation  of 
another  sort? 

The  problem  of  the  writer  of  advertisements  is  indeed 
different  from  that  of  the  salesman,  and  the  substitution  of 
general  for  individual  solicitation,  with  the  necessary  elim- 
ination of  the  salesman's  personality,  is  by  no  means  the 
whole  of  the  difference. 


67 


PRINCIPLES      AND      PRAC  T  I  C  E 

WHY  WRITING  IS  HARDER 
THAN  TALKING 

The  advertisement  writer  must  tell  his  story  from  begin- 
nmg  to  end,  without  interruption,  and  without  knowing  how 
much  or  how  little  the  reader  is  interested.  He  must  antic- 
ipate objections,  not  meet  them.  He  can  not  emphasize 
statements  by  inflecting  them,  except  to  a  very  limited 
extent  by  the  use  of  italics,  and  his  language  must  therefore 
be  more  forceful,  more  lucid  and  convincing,  than  would  be 
necessary  if  he  were  actually  talking  to  the  prospective 
customer. 

If  the  advertisement  writer  asks  questions,  he  must 
answer  them  himself  and  in  such  a  way  that  practically 
every  reader  will  agree,  not  merely  one  here  and  there.  He 
must  remember  that  it  is  much  easier  to  lay  aside  a  circular 
or  booklet  than  to  show  a  salesman  the  door,  and  to  offset 
this  must  make  a  more  continuous  effort  to  sustain  the 
interest  of  the  reader,  and  to  avoid  giving  even  the  slightest 
offense. 

Keep  these  requirements  in  mind,  and  you  may  then 
safely  follow  the  "  write-as-you-would-talk "  injunction  to 
the  extent  at  least  of  striving  to  give  your  Direct  Advertis- 
ing a  colloquial  rather  than  a  literary  flavor.  Remember 
that  you  are  appealing  to  real  "  folks  "  rather  than  writing 
an  inscription  for  a  public  building,  and  that  those  same 
folks"  are  infinitely  more  interested  in  themselves  than 
they  are  in  you. 

HOW  TO  "GET  READY  TO  BEGIN" 

If  you  were  the  manufacturer  of  the  patent  mop  to  which 
we  have  already  referred,  and  if  you  wished  to  write  a  book- 
let or  circular  about  it,  and  were  uncertain  how  to  start,  you 
could  do  a  great  deal  worse  than  imagine  yourself  on  the 
door-step  with  the  mop  in  your  hand,  ready  to  sell  it  to  the 
woman  of  the  house. 


OF       DIRECT       ADVERTISING 


•  *      V 


J* 


i 


\ 


LOOD  MORNING!  Can  I  take  up  five  minute* 
ol  yoiar  time— tibanks.  Pm  Panotu  ^l 
Man,  |urt  «ot  in  from  Phikdelidiia 
dus  moraing.  What's  mj  line?  ^ 
Why  Panont  SSSk  Board.  Pm  jmt  out  on  a  ^  ^^^ 
lort  <^  ^^g^-aoquannted'tour,"  to  famiiiame  l^HEc^* 
you  good  dbakn  with  the  m^»enar  qualitie*  ni  our  boaufd. 
**Hcfw,  I  fkm't  tappom  heretofwe  f(M*ve  given  mudb 
thoui^t  to  afflc  fooiunlHBfttsvdly  if  •  a  nnali  detail,  but 
then,  a»  these  husinett  i&Bosofriheni  say,  it^s  the  small 
detiuk  that  count 

"Yonkaow&at  agrH4dkMl«f  d&hMurdlB»w«a  dwn«rii»t  Km 
(aier,  wMi  ••  ft  rcccit  U  Utkst  llwuKnt  itni  wsariBf  qawfitiet— ft  •mm'% 
Uk»  lout »»  ennkmrnilofekAtanmi^  SmmpmUMm. 

'It'*  tbmatia, imlkw*  *»•  Am  tuif  ummatmnmn  wlw  mmk»  ALL  oar  ttram 
mOccM*.  cptiiqiwtir  «•  KNOW  «acMi|r  wIh^  fern  imba  k.  W«  oub  rsuwotM 
MV  boMti  pw«  M^iAito  w^  aiMaliililr  m  flkr.  Hmt  •wr->  '-^  ">•  ^>>^»  •«»•' 
tyat  wsrtii  uwMwUriay  1m  buyiaf  ga«d  Sflk  Bqm«1  iww  kml  it? 

«Wd^  f  fty#  mtnmn  —  m^  U  Vt  vmrmimBH»  yo*  Flk  Arop  im 

Masjf  dMaln  iar  fvm  uMwIwy.    GaMl  itty." 


f  ,'tt^\,4>^ryi^     /vt'**.*^. 


iSpecUl  R>|>nwMat>tive  fori 


MAilUFACTI«nB  KY 

PARSONS  PULP  AND  LUMBER  CO. 

FrtuilifiB  B«f^  Botkbnf 


'M*:   W******    «      •«*•«•    M>»«*V4t***    *•«*««     »4MI.**t*.»«>» 


Folder  designed  to  suggest  the  call  of  a  salesman.  One 
of  a  series  for  which  BUCKEYE  COVERS  were  used. 
The  illustration  is  a  "  tip-on,"  printed  from  a  half-tone  oo 
coated  paper. 


INTENTIONAL  SECOND  EXPOSURE 


PRIN  C  IPLES      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


WHY  WRITING  IS  HARDER 
THAN  TALKING 

The  advertisement  writer  must  tell  his  story  from  begin- 
nmg  to  end,  without  interruption,  and  without  knowing  how 
much  or  how  little  the  reader  is  interested.  He  must  antic- 
ipate objections,  not  meet  them.  He  can  not  emphasize 
statements  by  inflecting  them,  except  to  a  very  limited 
extent  by  the  use  of  italics,  and  his  language  must  therefore 
be  more  forceful,  more  lucid  and  convincing,  than  would  be 
necessary  if  he  were  actually  talking  to  the  prospective 
customer. 

If  the  advertisement  writer  asks  questions,  he  must 
answer  them  himself  and  in  such  a  way  that  practically 
every  reader  will  agree,  not  merely  one  here  and  there.  He 
must  remember  that  it  is  much  easier  to  lay  aside  a  circular 
or  booklet  than  to  show  a  salesman  the  door,  and  to  offset 
this  must  make  a  more  continuous  effort  to  sustain  the 
interest  of  the  reader,  and  to  avoid  giving  even  the  slightest 
offense. 

Keep  these  requirements  in  mind,  and  you  may  then 
safely  follow  the  "  write-as-you-would-talk  "  injunction  to 
the  extent  at  least  of  striving  to  give  your  Direct  Advertis- 
ing a  colloquial  rather  than  a  literary  flavor.  Remember 
that  you  are  appealing  to  real  "  folks  *'  rather  than  writing 
^'J  J'^scription  for  a  public  building,  and  that  those  same 
folks  are  mfinitely  more  interested  in  themselves  than 
they  are  in  you. 


HOW  TO  "  GET  READY  TO  BEGIN  " 

If  you  were  the  manufacturer  of  the  patent  mop  to  which 
we  have  already  referred,  and  if  you  wished  to  write  a  book- 
let or  circular  about  it,  and  were  uncertain  how  to  start,  you 
could  do  a  great  deal  worse  than  imagine  yourself  on  the 
door-step  with  the  mop  in  your  hand,  ready  to  sell  it  to  the 
woman  of  the  house. 

68 


lOOD  MORNING!     Can  I  take  up  five  minutes 
of  y<«ir  tinie--tiiank».     I'm  Parsons  -;^  ^  ^ 
Man,  just  goi  in  from  Philadelphia         |^H 
this   morning.      What's   my    line?  %.^ 
Why  Parsons  SUk  Board.     Vm  just  out  on  a    J^^. 
SOTt  of   "get-acquainted«tour,**  to  familiarize   ^iUlS?' 
you  good  dealers  with  the  supen<H-  qualities  of  oar  board. 
"Now,  I  don't  suppose  heretofore  youVe  given  much 
thmight  to  «&  boaifd— natuorally  it's  a  small  detail,  but 
then,  as  these  business  philos<^hers  say,  it's  the  unail 
details  that  count 

"You  know  that  «  great  dkai  of  s3k  bowxl  now  oo  thenaaiicet  ha* 
faier,  and  a«  a  result  it  lack*  bending  and  wearmg  qnaiitiec — it  wtm't 
take  kmg  to  crack  and  kxdc  thoroughly  diwrspotabie. 

"h'x  «traa««,  but  wc  ax*  tib*  otdj  murafacturcn  ■mtta  make  ALL  oar  owm 
nutteml*,  cootcqtMBtty  w«  KNOW  exactly  what  coca  into  iL  W«  can  gitmniiteti 
oot  IxMrd  pwr*  tatpfatt*  witb  aixohitciy  bo  fiOer.  You'B  aifr«e  wiiit  ma  dukt't  ioin«> 
dkiioc  wordi  conaiciennf  in  hntymg  goo«t  SSk  Boani,  bow  isn't  it? 

"Wt^  my  five  Buntttm  are  b|>.  If  il'i  caavanmat  to  you  PB  drop  a 
mfia  tome  tone  oext  month  ami  we  can  diacu**  furtiier  &i»  »Sk  boaiti 
proUetB.    Mainy  duuika  tot  your  court«*y.    Good  day." 


i^;>ecial  Rcpretcntatire  for 


TteSQMB 


PARSONS  PULP  AND  LUMBER  CO. 

Franklin  Bank  Buil<tin«  PltikdciplM* 


Folder  designed  to  suggest  the  call  of  a  salesman.  One 
of  a  series  for  which  BUCKEYE  COVERS  were  used. 
The  illustration  is  a  "  tip-on,"  printed  from  a  half-tone  on 
coated  paper. 


«i 


J<^^ 


-  .£ 


il 


:il  t 


PRINCIPLES       AND       PRACTICE 


The  woman  in  this  case  would  be  neither  of  those  we 
have  already  pictured  —  she  would  be  a  composite  woman, 
a  sort  of  "  average  "  woman,  with  no  pronounced  character- 
istics, nothing  to  differentiate  her  from  the  millions  of  her 
sisters  who  make  up  the  sum  of  American  womanhood. 

The  picture  of  this  composite  woman,  and  of  yourself  on 
her  door-step,  may  not  suggest  to  you  exactly  what  you 
should  say,  but  it  will  at  least  save  you  from  the  enormity 
of  printing  a  cut  of  your  factory  where  you  should  have 
printed  a  cut  of  the  mop,  and  from  talking  about  your  organ- 
ization and  equipment  where  you  should  have  been  talking 
about  the  woman  and  her  house. 

Most  successful  advertising  is  objective  rather  than  sub- 
jective, and  this  means  simply  that  it  talks  to  the  prospec- 
tive customer  ABOUT  HIMSELF,  rather  than  about  the 
advertiser. 

The  advertiser  must  act  on  the  assumption,  and  it  is  by 
no  means  an  unwarranted  assumption,  that  people  are 
intensely  interested  in  things  that  promise  to  contribute  to 
their  comfort,  convenience,  prosperity,  pleasure  and  general 
well-being,  and  only  casually  interested,  if  at  all,  in  things 
that  do  not  fall  within  this  category. 

Copy  that  is  well  begun  is  half  written,  and  there  is  no 
better  way  to  begin  than  by  putting  yourself  in  the  other 
fellow's  place,  getting  his  point  of  view,  learning  why  he 
ought  to  WANT  what  you  have  to  sell,  and  why  he  ought 
to  want  to  buy  it  of  you  rather  than  of  someone  else. 

If  you  know,  you  can  tell  him.  If  you  do  not  know,  the 
writing  of  the  copy  is  not  your  job. 


OF       DIRECT       ADVERTISING 


\    J 


k 


70 


•I* 


Artistic  and  effective  treatments  of  "  The  World's  Greatest  Em- 
bossing Medium."  All  of  the  above  books  printed  and  embossed  on 
BUCKEYE  COVERS. 


PRINCIPLES       AND       PRACTICE 


OF        DIRECT        ADVERTISING 


TYPOGRAPHY 

Many  voluminous  books  have  been  written  and  printed 
on  the  subject  of  typography,  and  more  are  in  preparation, 
but  the  things  that  the  busy  advertiser  needs  to  know  about 
the  use  of  type  in  advertising  can  be  condensed  into  a  few 
short  sentences; 

The  first  and  foremost  thing  that  should  be  kept  in  mind 
is  that  your  catalogue,  or  booklet,  or  folder  —  whatever  is 
to  be  printed  from  the  type  you  are  selecting  or  approving 
—  is  to  be  issued  for  the  purpose  of  SELLING  GOODS, 
perhaps  to  people  not  too  willing  to  read  what  you  have  to 
say  about  them;  and  the  essential  thing,  therefore,  is  that 
the  story  should  be  EASY  TO  READ. 

To  make  a  book  or  other  advertisement  easy  to  read, 
there  are  three  primary  requirements  that  must  be  observed : 

1.  The  type  selected  must  be  legible. 

2.  It  must  be  suited  to  the  size  and  shape  of  the  space 
in  which  it  is  to  be  set. 

3.  It  must  be  properly  arranged. 

The  intrinsic  legibility  of  the  type  is,  of  course,  the  most 
important  thing.  No  amount  of  skillful  arrangement  will 
make  an  advertisement  easy  to  read  if  the  type  has  not  been 
properly  selected  in  the  first  place. 

Beautiful  and  legible  type-faces  are  available  in  great 
variety,  and  there  is  no  excuse  whatever  for  sacrificing  easy 
readability,  as  is  so  often  done,  in  the  mistaken  effort  to 
secure  an  "  artistic  "  effect. 

Artistic  effects  are  often  desirable  as  a  means  of  giving 
an  advertisement  the  proper  "  atmosphere,"  but  the  adver- 
tiser should  make  sure  that  the  "  atmosphere "  does  not 
tend  to  become  a  fog.  Art  is  never  good  salesmanship  if  it 
makes  the  selling  talk  more  difficult  to  comprehend. 

Advertisers,  therefore,  can  not  be  urged  too  strongly  or 
too  often  to  avoid  the  habitual  use  of  the  fancy  "  job  "  type- 
faces which  are  now  being  exploited  so  extensively. 

72 


.,i  V 


^  I 


'• 


AVOID  FANCY  JOB  FACES 

These  fancy  faces  are  all  right  in  their  place ;  they  have 
their  legitimate  uses,  but  it  is  pretty  safe  to  assert  that  they 
have  spoiled  more  sales  than  they  have  ever  made,  and  they 
should  never  be  considered,  if  at  all,  for  any  but  the  very 


The  Power  of  Printing 

TdlS  printing  is  iesued 
for  the  purpose  of  influ- 
encing the  recipient ,  not 
to  please  tlie  printer  or  the 
buyer.  It  is  personal  talk  put 
on  paper.  It  is  an  interview 
through  the  mail  which,  per- 
haps, could  not  be  personally 
secured  with  a  man  in  his 
oflice.  It  is  more  permanent 
than  what  a  man  may  say, 
because  it  may  be  read  and 
re-read  and  digested ;  there- 
fore, what  more  important 
featurecan  there  be  connected 
with  advertising  literature, 
than  that  it  should  fit  the 
requirementsoflhe  situation, 
that  it  should  tell  the  story  to 
the  recipient  in  a  way  calcu- 
lated to  interest  him  more 
than  anyone  else.  There  are 
prima  rilytwosorlsof  printing 
matter — that  which  is  worth 
buyingandthatwhich  is  not, 
but  lliese  two  classes  are,  of 


The  Power  of  Printing 

THIS  printing  is  issued 
for  the  purpose  of  influ- 
encing the  recipient, 
not  to  please  the  printer  or 
the  buyer.  It  is  personal 
talk  put  on  paper.  It  is  an 
interview  through  the  mail 
which,  perhaps,  could  not  be 
personally  secured  with  a 
man  in  his  office.  It  is  more 
permanent  than  what  a  man 
may  say,  because  it  may  be 
reAl  and  re-read  and  di- 
gested: therefore,  what  more 
important  feature  can  there 
be  connected  with  advertis- 
ing literature,  than  that  it 
should  fit  the  requirements 
of  the  situation,  that  it 
should  tell  the  story  to  the 
recipient  in  a  way  calculated 
to  interest  him  more  than 
anyone  else.  There  are  pri- 
marily two  sorts  of  printing 
matter  —  that  which  is  worth 


^  The  condensed  type,  shown  in  left  panel,  harmonizes 
with  the  shape  of  the  space  better  than  the  extended 
type  in  the  right  panel. 

briefest  announcements.  For  Catalogues,  Booklets,  Broad- 
sides, any  advertisement  that  requires  the  serious  and  sus- 
tained attention  of  the  reader,  they  are  utterly  unsuited. 

A  number  of  the  more  appropriate  and  legible  type-faces 
suitable  for  advertising  literature  will  be  found  displayed  in 
another  part  of  the  book,  beginning  on  page  167. 

73 


1  i 


PRINCIPLES      AND      PRACTICE 


ADAPTING  THE  TYPE  TO  THE  SPACE 

THE  SIZE  AND  SHAPE  OF  THE  SPACE  in  which 
the  type  is  set  is  the  second  important  factor  to  be  consid- 
ered in  designing  a  readable  and  attractive  advertisement. 

Very  large  type  is  not  easily  readable  if  set  in  a  narrow 


#  ? 


The  Power  of  Printing 

THIS  printing  is  issued  for  the  purpose  of  influencing  the 
recipient,  not  to  please  the  printer  or  the  buyer.  It  is 
personal  talk  put  on  paper.  It  is  an  interview  through  the 
mail  which  perhaps,  could  not  be  personally  secured  with  a  man 
in  his  office.  It  is  more  permahent  than  what  a  man  may  say, 
because  it  may  be  read  and  re-read  and  digested :  therefore,  what 
more  important  feature  can  there  be  connected  with  advertising 
literature,  than  that  it  should  fit  the  requirements  of  the  situation, 
thai  it  should  tell  the  story  to  the  recipient  in  a  way  calculated  to 
interest  him  more  than  anyone  else.    There  are  primarily  two  sorts 


fl    . 


li  'I  i 


The  Power  of  Prinling 

THIS  prinling  is  issued  for  the  purpose  of  mfluoncing  tlie  recipi- 
ent, nut  to  piruse  the  printer  or  the  buyer,  it  is  |KTSonal  talk 
put  on  paper.  I  tMan  interview  through  the  mail  winch,  perliaps, 
could  not  be  personully  secured  with  a  man  in  hisolTice.  It  is  more 
pennanentllhan  what  a  man  may  say,  because  it  may  be  read  and 
ro-read  and  digested  :  therefore,  what  more  important  foaturc  can 
there  lie  connected  with  advertising  literature,  than  that  it  should  fit 
the  requirements  of  the  situation,  thai  it  should  tell  the  story  to  the 
recipient  in  a  way  calculated  to  interest  hiin  more  than  anyone  else. 
There  are  primarily  two  sorts  of  printing  matter — that  which  is  worth 


\l  H 


Upper  panel  —  extended  type,  harmonizing  with 
space.  Lower  panel  —  condensed  type,  not  suitable  for 
this  space. 

column  that  requires  frequent  breaking  of  words,  irregular 
spacing,  etc.;  nor  is  very  small  type  easy  to  read  if  set  in 
a  wide  measure :  it  is  difficult  for  the  eye  to  "  find  the  place  " 
when  going  back  from  the  end  of  one  line  to  pick  up  the 
beginning  of  the  next. 

74 


OF       DIRECT       ADVERTISING 

Readability  is  also  promoted  to  a  limited  extent,  and 
attractiveness  to  a  very  great  extent,  by  using  type  that  is 
similar  in  SHAPE  to  the  space  in  which  it  is  set,  especially 
if  one  dimension  of  the  space  is  much  greater  than  the  other. 

Notice  the  accompanying  examples,  showing  the  advan- 
tage of  using  EXTENDED  type  in  spaces  that  are  wider 
than  they  are  high,  and  CONDENSED  type  in  spaces  that 
are  higher  than  they  are  wide. 

PROPER  ARRANGEMENT  of  the  type  is  an  impor- 
tant factor  in  determining  the  readability  of  an  advertise- 
ment, though  it  is  less  vital  than  the  selection  of  a  legible 
type-face  of  the  proper  size  and  shape  for  the  prescribed 
space. 

Enough  depends  upon  the  actual  typesetting,  however, 
to  make  it  worth  while  for  the  advertiser  to  see  that  the 
following  points  are  observed : 

DON'T  USE  SMALL  TYPE 

1.  Do  not  allow  your  Direct  Advertisements  to  be  set 
in  an  unnecessarily  small  size  of  type.  An  examination  of 
any  representative  collection  of  such  advertisements  will  as 
a  rule  disclose  several  that  could  have  been  made  much 
more  readable  by  the  use  of  a  larger  type-size.  The  reason 
for  this  is  that  when  the  printer  is  required  to  set  matter 
to  fill  a  certain  space,  he  naturally  selects  a  size  that  he  is 
SURE  will  allow  him  to  get  everything  in  without  crowd- 
ing. If  it  comes  short  of  filling  the  space,  he  has  only  to 
"lead  it  out"  —  that  is,  insert  strips  of  lead  between  the 
lines  —  whereas  if  there  were  too  much  matter,  part  or  all 
of  it  would  have  to  be  reset.  Both  contingencies  can  be 
avoided  by  careful  figuring,  and  if  necessary  by  setting  an 
experimental  page  before  the  size  of  type  is  decided  upon. 

"KEEPING  THE  READER  GOING" 

2.  In  Catalogues  and  Booklets  where  description  or 
argument  runs  continuously  from  one  page  to  another, 
avoid  ending  paragraphs  at  the  bottom  of  a  page,  so  far 

75 


I  i 


PRINCIPLES       AND       PRACTICE 

as  is  practicable.  This  applies  particularly  to  right-hand 
pages.  If  a  paragraph  ends  at  the  bottom  of  the  page,  the 
reader  may  stop  there;  whereas,  if  he  is  in  the  middle  of 
a  sentence  when  he  reaches  the  bottom  of  the  page,  he  is 
obliged  to  turn  over  to  the  next  page  to  complete  it. 

CAPITALIZING  THE  READER'S 
INDIFFERENCE 

3.  People  who  receive  Catalogues  and  Booklets  do  not 
always  read  them  through  systematically.  Sometimes  they 
"  glance  through  them  "  idly,  and  it  is  a  good  plan  to  take 
advantage  of  this  fact,  as  the  more  experienced  advertisers 
do,  by  arranging  the  text  so  that  the  reader's  attention  will 
be  attracted  by  some  important  word,  or  phrase,  or  sen- 
tence, NO  MATTER  WHERE  THE  BOOK  IS  OPENED. 
If  subheads  or  display  lines  are  inserted  at  intervals  in  the 
text,  see  that  each  "  spread,"  or  pair  of  facing  pages,  carries 
at  least  one  such  line.  If  no  display  lines  are  used,  the  same 
result  can  be  attained  by  setting  the  first  line  of  each  para- 
graph in  type  one  or  two  sizes  larger  than  the  balance  of 
the  paragraph.  This  method  is  followed  extensively  in  all 
forms  of  advertising,  including  newspaper  and  magazine 
display.  It  is  a  violation  of  the  strict  canons  of  typographic 
good  taste,  but  it  is  entirely  in  accordance  with  the  estab- 
lished canons  of  successful  selling,  and  these  are  usually 
allowed  to  prevail  over  taste  (although  they  are  not  often 
in  conflict  with  it)  where  advertising  is  concerned. 

HOW  NOT  TO  USE  SPACES 

4.  Avoid  unnecessary  letter-spacing  —  that  is,  spacing 
between  the  letters  of  a  word  —  and  remember  that  most 
such  spacing  IS  unnecessary,  except  in  setting  title-pages. 
As  a  rule,  letter-spacing  has  a  tendency  to  make  display 
lines  less  attractive  and  more  difficult  to  read.  Larger  or 
more  extended  type  can  nearly  always  be  substituted,  to 
good  advantage. 

76 


*»v 


->•> 


OF        DIRECT       ADVERTISING 

USE  AND  ABUSE  OF  ITALICS  AND 

CAPITALS 

Italics,  small  capitals  and  capitals  are  used  to  give 
emphasis  to  important  words  or  phrases  in  the  text  of  an 
advertisement.  The  principle  to  be  applied  in  employing 
them  is  the  same  that  applies  to  emphasizing  the  spoken 
word  —  "  If  it  is  emphasized  too  much,  it  isn't  emphasized 
at  all." 

Just  as  the  too-vociferous  speaker  fails  to  impress  his 
audience,  so  the  italic  or  capital  besprinkled  advertisement 
defeats  its  own  purpose.  The  reader  becomes  so  accus- 
tomed to  the  frequent  recurrence  of  emphasis  that  he  either 
pays  no  attention  to  it  whatever,  or  it  serves  merely  as  an 
irritant. 

It  is  the  quiet-talking  man,  the  man  of  reserve  force, 
who  makes  an  occasional  emphasis  count,  and  it  is  precisely 
so  with  an  advertisement.  Italics  or  capitals  achieve  their 
purpose  if  they  are  used  sparingly,  and  not  otherwise. 

Incidentally,  it  is  to  be  noted  that  good  copy,  as  a  rule, 
does  not  require  frequent  emphasis.  If  the  argument  is 
inherently  sound  and  forceful,  it  will  for  the  most  part  carry 
its  own  emphasis. 

Read  a  Herbert  Kaufman  editorial,  every  third  word 
italicized.  Read  Emerson's  Essay  on  Self-Reliance,  con- 
taining less  than  a  dozen  italicized  words.  Which  is  the 
more  forceful? 

OTHER  METHODS  OF  EMPHASIZING 
WORDS  OR  GROUPS  OF  WORDS 

Words,  phrases  and  sentences  can  also  be  emphasized 
by  underscoring,  by  setting  in  boldface  type,  and  by 
printing  in  a  color  different  from  that  in  which  the  balance 
of  the  text  is  printed. 

UNDERSCORING  is  little  used  in  up-to-date  advertis- 
ing, and  has  little  to  recommend  it.    Compared  with  other 


n 


i"i\ 


PRINCIPLES       AND       PRACTICE 

methods  it  is  expensive,  and  it  spoils  the  typographic 
appearance  of  the  text.  It  is  sometimes  justifiable  where 
suitable  italic  type  is  not  available,  but  seldom  otherwise. 

BOLDFACE  type,  of  which  examples  are  shown  in 
another  part  of  the  book  (see  Index)  is  preferable  to  under- 
scoring in  most  cases  where  choice  must  be  made  between 
the  two,  as  it  is  less  expensive  to  use,  and  produces  stronger 
emphasis  with  less  detriment  to  the  typographical  appear- 
ance of  the  text. 

COLOR  is  often  used  as  a  means  of  securing  emphasis, 
and  is  very  effective  in  display  advertising,  but  is  hardly 
more  effective  than  boldface  type  when  used  in  the  text  of 
Catalogues  and  Booklets,  and  is  at  the  same  time  much 
more  expensive,  since  it  entails  separation  of  the  type-forms 
in  making  up  the  book.  Even  where  a  book  is  printed  in 
two  or  more  colors,  it  adds  considerably  to  the  cost  to  print 
different  portions  of  the  text  in  different  colors.  Headings, 
marginal  references  and  initial  letters  can  be  "  separated  " 
more  readily  than  occasional  words  and  phrases  in  the  text, 
and  can  usually  be  displayed  effectively  in  a  separate  color. 

DISPLAY  advertising  is  ubiquitous  these  days,  and 
scarcely  requires  definition.  Any  reader  of  any  magazine 
or  newspaper  can  see  for  himself  in  what  manner  and  to 
what  extent  it  differs  from  "  straight  reading-matter."  He 
can  see  that  a  variety  of  type-faces  and  a  variety  of  arrange- 
ments have  been  utilized  for  the  purpose  of  giving  character 
to  the  individual  advertisements,  and  also,  in  many  cases,  to 
differentiate  the  several  sections  of  a  single  advertisement, 
giving  emphasis  to  important  words,  phrases,  sentences, 
paragraphs,  etc. 

The  designing  of  successful  display  advertisement  calls 
for  the  same  sort  of  restraint  that  has  already  been  recom- 
mended in  connection  with  the  italicization  of  catalogue 
and  booklet  texts. 


78 


(^ 


\ 


i 


i 


I 


OF        DIRECT        ADVERTISING 


METHODS  OF  SETTING  TYPE 

All  advertisements  in  whatever  form,  whether  they  are 
Catalogues,  Booklets,  Folders,  Mail  Cards,  Newspaper  or 
Magazine  displays,  or  what  not,  are  put  in  type  by  one  of 
three  standard  methods : 

LINOTYPE  COMPOSITION.— The  Linotype  is  a 
keyboard-operated  machine  that  casts  type  a  line  at  a  time, 
each  **  line  o'  type  "  being  a  single  piece  or  "  slug."  All 
important  newspapers  are  set  on  the  Linotype,  and  it  is 
used  extensively  for  all  kinds  of  commercial  composition. 
Individual  characters  in  a  line  can  not  be  changed  when 
matter  has  been  set  on  the  Linotype.  If  a  line  contains  an 
error,  the  entire  line  must  be  reset.  This  book  was  set  on 
the  Linotype. 


MONOTYPE  COMPOSITION.— This  form  of  compo- 
sition requires  two  machines :  the  first  machine,  keyboard- 
operated,  cuts  perforations  in  a  strip  of  paper,  making  a 
"  record  "  somewhat  similar  to  those  used  in  player-pianos. 
The  "  record  "  is  then  placed  in  a  second  machine,  which 
casts  and  sets  the  type.  In  Monotyped  matter  each  char- 
acter is  a  separate  piece,  so  that  any  sort  of  corrections  are 
made  as  readily  as  with  foundry  type.  The  Monotype,  like 
the  Linotype,  is  extensively  used  for  almost  every  kind  of 
composition.  The  recently  published  (American)  Eleventh 
Edition  of  the  Encyclopedia  Britannica  was  set  on  the 
Monotype. 

HAND  COMPOSITION.— In  setting  type  by  hand, 
the  compositor  "  justifies  "  each  line  by  inserting  spaces  of 
varying  thickness  between  the  words,  so  as  to  make  them 
APPEAR  equally  spaced.  If  the  actual  spaces  were  all 
alike,  the  spacing  would  appear  unequal,  for  the  reason  that 
the  shapes  of  the  letters  on  either  side  of  a  space  have  a 
tendency  to  increase  or  decrease  the  width  of  the  apparent 
^P^*^^-.  ,^^  ^^^  phrases  "bad  boy"  and  "new  view,"  here 

"I  spaces,  the  apparent  space  between  "new" 
is  much  greater  than  between  "bad"  and 


and  "view" 


boy." 


79 


PRINCIPLES       AND       PR  A  C  T  I  C  E 

The  hand  compositor  would  make  these  spaces  appear 
equal  by  inserting  a  wide  space  between  "  bad  "  and  "  boy," 
and  a  narrow  one  between  "  new  "  and  **  view."  Typeset- 
ting machines  can  not  "  justify  "  composition  in  this  way, 
and  It  is  for  this  reason,  principally,  that  type  must  be  set 
by  hand  where  the  nearest  possible  approach  to  typographic 
perfection  is  required.  r-  «,    r 

The  superiority  of  hand  composition  over  machine  com- 
position IS  particularly  apparent  when  the  larger  sizes  of 
type  are  used— say,  from  "18-point"  up.  The  larger  the  type, 
the  more  obvious  the  unequalness  of  the  equal  spacing  in 
machine  composition  becomes.  Where  smaller  type  is  used 
such  as  that  you  are  now  reading,  the  difference  is  not  so 
noticeable.    See  type  specimen  pages  in  back  of  book. 

HAND  LETTERING— WHY  AND 
HOW^  TO  USE  IT 

American  type,  whether  the  product  of  a  foundry  or  of 
a  typecasting  machine  operated  by  the  printer,  is  the  best 
m  the  world. 

It  is  remarkable  alike  for  its  mechanical  perfection,  and 
for  the  unending  variety  of  practical  and  beautiful  faces  of 
which  it  is  the  vehicle. 

The  ability  and  enterprise  of  the  American  founders  has 
been  a  tremendous  asset  to  the  progressive  advertiser,  in 
that  it  has  enabled  him,  or  his  printer  for  him,  steadily  to 
improve  the  appearance  and  effectiveness  of  his  business 
announcements,  until  they  have  become  recognized  models 
for  the  advertisers  of  every  other  country  in  the  world. 

The  great  bulk  of  all  of  American  advertising  is  un- 
doubtedly printed  entirely,  so  far  as  its  text  is  concerned, 
from  either  hand-set  or  machine-set  type,  or  from  electro- 
types made  from  the  type. 

There  are  some  advertising  requirements,  however, 
sometimes  very  simple  ones,  that  type  will  not  meet  satis- 
factorily; and  when  these  are  encountered  it  becomes 
necessary,  or  at  least  desirable,  to  have  recourse  to  hand- 
lettering. 

80 


r 

I 


/ 


I     . 


,i 


OF       DIRECT       ADVERTIS   I   N   G 

Hand-lettering,  of  course,  is  exactly  what  its  name 
implies  —  the  letters  are  drawn  by  hand,  with  pen  and  ink, 
and  zinc  etchings  are  made  from  the  drawings. 

"  FLEXIBILITY  "  OF  HAND-LETTERING 

Where  hand-lettering  is  preferable  to  type,  it  is  usually 
for  either  one  of  two  reasons : 

(1)  It  offers  greater  opportunities  for  decorative  treat- 
ment and  elaboration. 

(2)  It  is  more  flexible,  giving  a  great  deal  more  lati- 
tude in  the  arrangement  of  words  and  phrases,  and  even 
of  the  individual  letters  in  a  word,  than  is  possible  with 
type. 

The  second  of  these  reasons,  strange  as  it  will  seem  to 
some  readers,  is  the  more  important  of  the  two.  The 
decoration  and  elaboration  of  a  piece  of  text,  though  often 
highly  DESIRABLE,  is  never  NECESSARY.  The 
PROPER  ARRANGEMENT  of  the  text,  on  the  other 
hand,  IS  absolutely  essential,  if  the  advertisement  is  to  be 
attractive  and  effective. 

It  is  therefore  not  the  advertiser  with  a  taste  for  decora- 
tive treatment  in  his  advertising  matter,  or  who  can  use 
decorative  treatment  to  good  advantage,  who  most  needs 
to  appreciate  the  considerations  which  should  determine  the 
employment  of  hand-lettering. 

It  is  rather  the  customary  user  of  plain  printing  who 
needs  to  understand  that  he  MUST  occasionally  use  hand- 
lettering  if  he  wishes  his  advertisements  to  be  properly 
displayed. 

To  make  the  point  clear,  let  us  start  with  an  extreme 
application  of  it,  taking  for  purposes  of  demonstration  the 
single  word  "  Havana." 

We  instruct  the  printer  to  set  it  in  caps.,  using  a  bold- 
face italic.    This  is  the  result : 

HA  VANA 

81 


;  ,«l 


^m^ 


PRINCIPLES      AND      PRACTICE 


Apparently  the  printer  has  inserted  spaces  before  and 
after  the  "  V,"  separating  it  from  the  other  letters,  but  in 
reality  he  has  not.  The  word  is  set  solid,  with  the  letters 
as  close  together  as  the  printer  can  possibly  get  them.  The 
unequal  spacing  is  due  to  the  fact  that  the  mechanical  divi- 
sions of  the  types  do  not  coincide  with  the  optical  require- 
ments of  this  particular  combination  of  letters.  The  larger 
the  type  used,  the  more  glaring  the  inequality  will  be,  until 
\ye  reach  the  point  where  it  would  be  quite  out  of  the  ques- 
tion to  print  this  word  in  the  style  of  type  shown,  without 
unduly  detracting  from  the  appearance  of  the  advertise- 
ment of  which  it  is  a  part.  The  only  way  we  can  get  the 
word  properly  spaced,  in  this  style  of  letter,  is  to  have  it 
drawn  by  hand,  thus : 

HAVANA 

So  much  for  a  single  word.  Probably  there  are  not  a 
great  many  that  would  present  equal  difficulties.  When 
we  come  to  combinations  of  words,  however,  the  likelihood 
of  hand-lettering  being  necessary  is  enormously  increased, 
for  now  we  have  to  consider  not  only  the  individual  letters 
in  each  word,  but  the  relation  of  the  words  to  each  other. 

Take  the  phrase: 

Buckeye 


Covers 


This  as  it  stands  is  entirely  satisfactory,  if  we  wish  to 
use  it  in  this  form.  But  suppose  the  arrangement  of  the 
advertisement  in  which  this  phrase  appears  requires  that 
both  words  shall  be  THE  SAME  LENGTH.    We  instruct 

82 


f  i 


OF       DIRECT       ADVERTISI  N   G 

the  printer  to  make  them  the  same  length.    He  does  it  by 
spacing  out  the  second  word,  and  this  is  the  result: 

Buckeye 


C 


overs 


Plainly  this  is  not  very  attractive.  The  two  words  do 
not  look  as  if  they  belonged  together.  If  the  advertise- 
ment is  important,  and  especially  if  we  expect  to  use  the 
phrase  repeatedly  in  this  form,  it  will  be  much  better  to 
have  it  hand-lettered: 


Buckeyi 


Co 


e 


vers 


f- 


Here  the  two  words  are  not  only  equal  in  length,  but 
are  equal  in  SPACING  as  well,  which  is  exactly  what  we 
want.  The  improvement  is  certainly  worth  much  more 
than  the  few  dollars  the  artist  will  charge  for  the  drawing. 

If,  now,  we  wish  to  give  this  lettering  a  little  more  char- 
acter and  distinctiveness,  we  have  only  to  instruct  the  artist 
to  elaborate  it  a  little,  and  we  get  a  logotype  that  we  can 
use  permanently  and  effectively  in  all  of  our  advertising: 


S3 


18  -1 


PRINCIPLES      AND      PRACTICE 

The  same  principle  applies  still  more  strongly  if  we  wish 
to  use  two  words  of  unequal  typographic  length  on  either 
side  of  a  trade-mark,  which  is  a  very  frequent  occurrence. 
Only  the  letter  artist  can  make  them  the  same  length  and 
still  have  them  properly  spaced: 


BUCKEYE 


CDVERS 


in 


A  design  of  this  sort,  if  desired,  can  be  "  reversed  ... 
making  the  engraving,  so  that  the  letters  will  appear  white 
on  a  black  ground : 


BUCKEYE 


lJ^*BWRT»?*J 


COVERS 


Similar  "reversed"  plates  can  be  made  from  type,  by 
furnishing  the  engraver  a  clean,  sharp  proof  of  the  type,  on 
smooth  paper. 


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^  ^ '     "     '  '■   -i  i    '  t    :!   11  11   T.   11   11  1:    JT  2L  it   Ji    n    n    II    1^    ^^    n    1,    ,,    jj 


Types  of  pen-and-ink  decorative  borders,  reproduced  in  "  line." 


8S 


PRINCIPLES       AND       PRACTICE 


OF        DIRECT        ADVERTISING 


ui;s**(i5 


PICTORIAL  BORDERS 

The  border  on  this  pagfe  is  a  sood  example 
of  a  form  of  embellishment  that  can  be  used 
to  good  advantage  in  a  Kreat  variety  of  ways. 
Many  folders  and  mailing  cards,  as  ^vell  as 
catalogues  and  booklets,  can  be  made  more 
effective  by  the  use  of  appropriate  pictorial 
borders. 

Such  borders  perform  the  double  function  of 
making  the  page  ATTRACTIVE,  while  at  the 
same  time  they  carry  a  definite  SUGGES- 
TION that  emphasizes  and  amplifies  the  tex- 
tual description  or  argument. 

This  particular  border,  suggestive  of  hunt- 
ing, could  be  used  appropriately  in  a  gun  or 
ammunition  catalogue,  in  a  "vacation" book- 
let issued  by  a  railroad  company,  etc. 

DECORATIVE  BORDERS 

Examples  of  decorative  borders  will  be 
found  on  another  page. 

These  borders  are  designed  purely  and 
simply  for  purposes  of  embellishment  —  to 
increase  the  attractiveness  of  the  Catalogues, 
Booklets,  Polders,  etc.,  in  which  they  are 
used.  They  bear  the  same  relation  to  the 
text  they  enclose  that  a  frame  bears  to  a 
picture. 

The  borders  here  shown  were  all  made  from 
pen-and-ink  drawings.  Less  elaborate  bor- 
ders, made  in  sections,  are  carried  in  stock 
by  leading  typefounders,  and  shown  in  their 
catalogues. 

Borders  should  be  chosen  with  reference 
to  the  color  and  arrangement  of  the  adver- 
tisement they  are  to  frame,  not  merely  with 
reference  to  their  attractiveness,  as  a  good 
border  wrongly  used  is  scarcely  better  than 
a  bad  border. 


4 


K 


^t*y 


i\ 


CATALOGUES  AND 
BOOKLETS 

The  latest  edition  of  the  Standard  Dictionary  defines  a 
Catalogue  as  "  a  list  or  enumeration  of  names,  titles,  per- 
sons or  things  .  .  .,"  and  a  Booklet  as  "  a  small  or  unpre- 
tending book ;  a  little  book  or  pamphlet." 

Neither  definition  gives  the  accepted  meaning,  so  far  as 
Advertising  literature  is  concerned.  A  commercial  cata- 
logue is  nearly  always  more  than  a  mere  "  list,"  and  so-called 
"  Booklets  "  are  frequently  both  large  and  pretentious. 

A  Catalogue,  ordinarily,  is  a  list  of  articles  with  descrip- 
tions and  prices,  and  usually  with  illustrations,  although 
there  are  exceptions  to  this  last,  a  notable  example  being 
the  famous  Tiffany  Blue  Book. 

A  Booklet,  as  distinguished  from  a  Catalogue,  is  more 
commonly  an  extended  advertisement  of  a  single  article,  or 
at  least  it  is  the  expression  of  a  single  central  selling  idea, 
instead  of  being  an  assemblage  af  separate  advertisements. 

This  is  an  arbitrary  classification  for  which  there  is  no 
specific  authority,  but  it  will  serve  the  present  purpose, 
which  is  merely  to  establish  a  definite  meaning  for  the  two 
words  as  they  are  used  in  the  following  pages. 

PLANNING  THE  CATALOGUE 

"  We  want  to  get  out  a  new  catalogue,"  says  the  manu- 
facturer —  or  a  new  booklet,  as  the  case  may  be  —  "  what 
is  the  first  thing  to  be  done?  " 

A  good  answer  to  this  question  was  given  recently  by 
a  well-known  educator  who  delivered  an  address  before 
the  students  of  an  eastern  high  school.  His  topic,  selected 
for  him  by  the  school  authorities,  was  "  Books." 

The  lecturer  began  by  saying  he  felt  much  as  if  he  had 
been  asked  to  talk  about  "  Baskets."  Had  this  topic  been 
proposed,  he  would  naturally  have  asked,  "Baskets  of 
what,"  and  the  same  inquiry  had  suggested  itself  when  he 
began  to  consider  what  he  should  say  about  "  Books." 


II 


i 


■^f 


PRINCIPLES      AND      PRACTICE 


Books,  like  baskets,  derived  their  interest  and  impor- 
tance almost  entirely  from  their  contents.  The  books  and 
baskets  themselves  were  merely  vehicles,  the  one  to  carry 
ideas  and  information,  the  other  to  carry  merchandise.  Any 
profitable  discussion  of  books,  therefore,  must  resolve  itself 
into  a  discussion  of  the  ideas  and  information  which  were 
to  be  gained  by  reading  them. 

The  distinction  is  one  that  can  be  pondered  to  advantage 
by  the  man  who  is  about  to  get  out  a  catalogue  or  booklet. 

Type  and  paper,  designs  and  plates,  printing  and  bind- 
ing, are  the  essentials  of  bookmaking,  but  they  are  far  from 
being  the  essentials  of  an  ADVERTISEMENT. 

Your  catalogue  is  but  the  "  vehicle  "  to  carry  your  mes- 
sage to  the  people  whom  you  are  seeking  to  interest  in  your 
merchandise  or  service. 

The  first  essential  is  to  make  sure  that  it  has  something 
to  carry.  You  can  not  do  this  by  writing  the  copy  under 
pressure  at  the  last  minute,  after  everything  else  is  ready, 
and  the  best  of  all  ways  to  begin  the  preparation  of  your 
catalogue,  therefore,  is  to  begin  writing  it. 


CATALOGUE  AND  BOOKLET  SIZES 

The  first  point  to  be  decided  in  regard  to  the  physical 
make-up  of  a  catalogue  or  booklet,  as  a  rule,  is  the  size  and 
shape  of  the  page.    How  big  should  the  catalogue  be? 

I  once  heard  an  advertising  man  use  with  telling  effect, 
as  he  thought,  a  paraphrase  of  Abraham  Lincoln's  famous 
dictum  that  a  man's  legs  ought  to  be  long  enough  to  reach 
from  his  body  to  the  ground. 

The  advertising  man  applied  this  to  the  building  of  cata- 
logues by  saying  that  "  a  catalogue  always  ought  to  be  big 
enough  to  contain  the  things  that  must  be  put  into  it." 

This  was  evidently  intended  as  an  expression  of  the 
speaker's  belief  that  there  was  no  rule,  at  least  no  reliable 
rule,  for  determining  the  proper  size  of  the  catalogue  and 

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that,  unless  its  size  were  predetermined  by  text  and  illus- 
trations that  had  been  prepared  in  advance,  it  might  be 
"  any  old  size  "  that  the  taste  and  fancy  of  the  catalogue- 
builder  might  dictate. 


NO  EXCUSE  FOR  GUESSWORK 

This,  however,  is  far  from  being  true.  There  is  seldom 
any  excuse  for  guesswork  in  connection  with  the  size  of  a 
given  catalogue  or  booklet.  While  no  rules  can  be  stated 
that  will  apply  to  all  cases,  there  are,  nevertheless,  several 
constant  factors,  from  a  consideration  of  which  it  is  nearly 
always  possible  to  determine,  within  reasonable  limits,  the 
proper  size  of  any  catalogue  or  booklet  which  it  is  proposed 
to  publish. 

V^  1^  The  first,  and  in  many  lines  of  business  the  foremost 

factor,  is  the  custom  established  by  competing  houses,  or 
by  those  offering  catalogues  of  similar  articles  to  the  same 
trade. 

If  most  of  the  products  competing  with  yours  are  repre- 
sented by  large  books,  that  is  one  strong  reason  in  favor  of 
making  yours  at  least  as  large  as  the  average. 

If  you  were  bringing  out  a  new  automobile,  you  would 
find  that  most  of  the  automobile  catalogues  issued  by  the 
/  established  concerns  are  7x11  inches,  or  larger. 

It  would  therefore  be  advisable  to  make  your  catalogue 
not  smaller  than  7x11  if  you  wished  to  be  sure  that  it 
would  attract  favorable  attention. 

Similarly,  if  you  were  designing  a  piano  catalogue,  you 
would  find  it  advisable  to  make  it  6x9,  and  preferably 
larger.  A  catalogue  smaller  than  6x9  would  almost  cer- 
4  tainly  be  looked  upon  as  cheap,  no  matter  how  finely 
printed,  because  piano  buyers  have  become  accustomed  to 
sizable,  impressive-looking  catalogues. 


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PRINCIPLES      AND 


PRACTICE 


HOW  ILLUSTRATIONS  AFFECT 

PAGE  SIZES 

The  next  factor  is  concerned  with  the  requirement  that 
the  page  of  the  catalogue  be  sufficiently  large  to  carry  illus- 
trations that  will  show  the  advertised  article  advantage- 
ously, and  where  there  is  no  established  size-custom  to  serve 
as  a  guide,  this  is  the  most  important  factor. 

An  automobile  or  piano,  to  recur  to  the  examples  already 
quoted,  can  not  be  illustrated  effectively  —  the  details  can 
not  be  brought  out  adequately  —  in  a  plate  smaller  than 
5x7  mches,  hence  the  manufacturer  introducing  a  new  car 
would  be  ill  advised  to  think  of  getting  out  a  catalogue 
smaller  than  6x9,  even  if  he  had  not  found  that  larger  sizes 
were  the  rule  in  the  automobile  industry. 

A  collar-button  or  a  garter,  on  the  other  hand,  can  be 
shown  adequately  in  a  very  small  illustration,  and  there 
would  therefore  be  no  physical  necessity  for  making  a 
collar-button  or  garter  booklet  much  larger  than  3x6  inches, 
^ince  this  size  would  fit  a  standard  6%  envelope,  it  would 
be  the  logical  size  for  such  a  booklet,  unless  there  were 
some  very  unusual  reason  to  the  contrary. 

The  character  of  the  product  advertised,  its  cost  and 
importance,  and  the  class  of  people  who  are  asked  or 
expected  to  buy  it,  are  other  important  factors  in  determin- 
ing the  size  of  a  catalogue  or  booklet. 

Usually  these  factors  may  be  assumed  to  have  had  their 
proper  share  in  influencing  the  catalogue  size  that  prevails 
in  an  industry  where  any  approach  to  a  standard  size  does 
prevail. 

WHEN  THE  CATALOGUE  IS 
OVERWEIGHT 

Occasionally  it  will  be  found  that  because  of  a  mis- 
calculation, or  because  of  variation  in  the  weight  of  the 
paper  furnished,  a  catalogue  that  has  been  planned  to  come 
inside  a  certain  postage  limit  will  be  over  that  limit. 

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Under  such  circumstances  the  usual  remedy  is  to  trim 
off  the  margins  of  the  book  to  whatever  extent  is  necessary 
to  effect  the  necessary  reduction  in  weight.  If  the  margins 
have  been  properly  designed  in  the  first  place,  the  trimming 
naturally  will  not  improve  the  appearance  of  the  book ;  yet 
on  the  other  hand,  if  the  amount  of  trim  is  slight,  the 
appearance  of  the  book  will  not  be  materially  affected. 

Where  the  required  trim  is  sufficient  to  detract  notice- 
ably from  the  appearance  of  the  book,  the  question  to  be 
decided  is  whether  the  preservation  of  the  original  margin 
is  worth  the  extra  postage,  and  this  is  determined  by  the 
character  of  the  book,  of  the  product,  and  of  the  people  to 
whom  the  book  is  to  be  sent. 

^  If  the  book  has  been  cheaply  gotten  up  in  the  first  place, 
with  a  view  to  presenting  certain  facts  and  pictures  as  eco- 
nomically as  possible,  a  reasonable  amount  of  trimming 
will  not  be  objectionable. 

If,  on  the  other  hand,  it  is  an  automobile  or  piano  cata- 
logue, or  other  book  which  depends  largely  on  its  physical 
make-up  for  its  effectiveness,  it  would  be  a  great  mistake 
to  sacrifice  its  appearance  for  the  sake  of  a  small  saving  in 
postage,  for  the  saving,  in  all  probability,  would  be  more 
than  offset  by  the  diminished  effectiveness  of  the  adver- 
tisement. 

Catalogues  or  booklets  having  extension  covers  can  not 
be  trimmed  after  the  covers  have  been  bound  on. 

ALLOWING  FOR  INK  AND  PAPER 

It  is  well  to  bear  in  mind,  when  passing  on  the  "  dummy  " 
of  a  catalogue  or  booklet,  that  the  INK  will  make  the  fin- 
ished book  slightly  heavier  than  the  dummy ;  and  that  even 
if  the  ink  has  been  allowed  for  in  the  printer's  estimate,  you 
can  have  no  absolute  assurance  that  the  finished  book  will 
weigh  exactly  the  same  as  the  dummy.  The  paper  your 
printer  orders  may  weigh  a  little  more  or  a  little  less  than 
he  has  figured  on,  since  no  paper  runs  absolutely  uniform  as 
to  weight,  and  this  would  mean,  of  course,  a  similar  varia- 
tion in  the  weight  of  the  finished  books. 

91 


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PRINCIPLES 


AND       PRACTICE 


...i 


f-  ■ 


Unless  you  are  willing  to  pay  more  postage  than  you 
have  figured  on,  should  it  prove  necessary,  it  is  always  better 
to  have  paper  ordered  that  is  slightly  lighter  than  used  in 
the  dummy  —  either  this  or  reduce  the  size  of  the  book 
slightly  BEFORE  the  make-up  of  the  pages  has  been 
finally  decided  upon. 

Either  alternative  is  much  preferable  to  running  the  risk 
of  marring  the  book  by  trimming  it  more  than  was  intended 
when  it  was  planned. 

Once  the  size  has  been  determined  there  is  no  set  rule 
for  proceeding.  Propositions  and  conditions  vary  widely, 
and  so,  naturally,  must  the  methods  of  the  catalogue  and 
booklet  builder.  The  following  paragraphs,  therefore, 
while  set  forth  in  logical  order,  should  be  regarded  as  sug- 
gestions, rather  than  as  a  complete  program. 

SPECIMEN  PAGES 

When  the  actual  or  tentative  page  size  has  been  decided 
upon,  one  or  more  specimen  pages  should  be  made  up, 
designs  or  illustrations  being  indicated  by  proofs  or 
sketches,  and  text  matter  by  proofs  from  type  set  for  the 
purpose.  When  the  specimen  pages  have  been  approved, 
they  will  serve  as  a  basis  for  determining  the  approximate 
number  of  pages  that  will  be  required,  which  must  be 
known  before  a  useful  dummy  can  be  made  up. 

SELECTING  THE  PAPER 

It  is  advisable,  though  not  absolutely  necessary,  to  select 
the  paper  for  a  catalogue  or  booklet  before  the  dummy  is 
made  up.  Dummies  are  often  made  of  paper  which  it  is 
not  intended  to  use  in  printing  the  book,  and  the  selection 
of  the  paper  deferred,  for  one  reason  or  another,  until  just 
before  the  book  is  ready  to  go  to  press.  Where  the  postage 
must  be  kept  down  to  a  certain  limit,  however,  and  where 
printing  estimates  are  to  be  asked  for,  it  is  essential  to 

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select  the  paper  FIRST,  so  that  the  dummy  will  correctly 
represent  both  the  weight  and  the  material  of  the  finished 
book. 

When  selecting  the  paper  and  making  up  the  dummy  of 
a  catalogue  or  booklet,  it  is  well  to  bear  in  mind  that  it  is 
not  always  necessary  to  print  all  of  the  body  portion  of  the 
book  on  the  same  kind  of  paper. 

Two  different  papers,  or  even  several  papers,  can  often 
be  used  to  advantage,  sometimes  as  a  means  of  improving 
the  book,  and  other  times  to  cut  down  its  cost. 

HOW  TO  USE  THE  DUMMY 

Assuming  that  it  is  made  of  the  paper  which  is  to  be 
used  in  printing  the  proposed  book,  the  dummy  should 
correctly  foreshadow  the  book  in  every  mechanical  detail, 
with  the  single  exception  of  the  printing.  It  should  be  the 
correct  size,  shape,  thickness  and  weight,  and  should  show 
the  proposed  style  of  binding  and  finishing. 

If  the  dummy  is  found  unsatisfactory  in  any  of  these 
particulars,  the  specifications  should  be  modified  and  a  new 
dummy  made  up.  The  process  should  be  repeated  as  many 
times  as  may  be  necessary,  until  every  detail  is  exactly 
right.  It  is  cheaper  to  make  new  dummies  than  to  make 
changes  in  a  partly  completed  book.. 

Until  it  has  been  O.  K.'d,  the  dummy  represents  the 
experimental  stage  in  catalogue  and  booklet  building. 
Upon  being  O.  K.*d,  it  becomes  the  PLAN  of  the  book,  the 
basis  from  which  all  parts  of  the  work  are  carried  forward. 


i( 


LAYING  OUT"  AND  "MAKING  UP" 


"Laying  out"  a  catalogue  or  booklet,  like  laying  out 
any  other  sort  of  advertisement,  is  accomplished  by  indi- 
cating in  the  dummy  the  proposed  arrangement  of  designs, 
illustrations  and  text. 

\yhen  the  type  has  been  set  and  the  plates  of  the  designs 
and  illustrations  are  in  hand,  the  printer  then  assembles  or 

93 


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PRINCIPLES      AND      PRACTICE 


OF       DIRECT 


Combined  decorative  and  illustrative  treatment  of 

catalogue  pages. 

thT'Mayout"'*^"''  materials  into  pages  in  conformity  with 

Where  the  text  of  a  book  reads  continuously  from  na^e 
in^'rlf  ***"  illustrations  are  to  be  placed  i^  jZ^lIt- 
tion  to  references  m  the  text,  as  in  the  present  book   no 

Son  "oXr  thT  f  "i!^'  *'"*  '^ '''  "p  •"  g«"«y«-  th'"lu" 

text  Tt%hl  ^r  "  f'^ll-Page  ones  are  "  broken  into  "  the 
into  p%«  b?XSn'  ^"'  *^  "'^"'^  ^^  *^'"  -">'  "P 

H.^.w^'"''  ^u""  *''''*.  '^  continuous  but  there  are  decorative 
Srtfin  n°n.v'''''^''°"'  ^^  ^°'^  '^^'  '"^^"^^^  ^o  be  placed  In 
the  t  WH^  ^'°"Au''  ".'^^^"  P^^^^'  ^  ^^y<>"t  is  necessary  for 
tie  t^ext  '  P™'""'  ^"'  ^'  "^^^  "°*  *^k^  accoi^t  of 

In  many  cases,  however,  it  is  necessary  that  each  cata- 

hf  r.r^"  ^^  '°"^P^^'"  ^"  ^^^^^^'  ^^d  this  ^u'rera  layo^^^ 
that  shows  the  exact  location  of  every  portion  of  theText 
as  well  as  of  every  design  and  iHustration      Under  these 
circumstances  the  complete  make-up  is  indicated  by^t^^^^^ 

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layout,  and  it  is  only  necessary  for  the  printer  to  assemble 
the  material  in  accordance  with  the  dummy. 

If  any  or  all  of  the  designs  or  illustrations  have  been 
completed  at  the  time  the  dummy  is  made  up,  the  proofs 
should  be  pinned  or  pasted  in  position  on  the  proper  pages. 
(Pins  are  preferable  wherever  there  is  any  uncertainty  as 
to  the  proper  make-up,  since  they  permit  changes  to  be 
made  readily.) 

Where  the  making  of  the  dummy  precedes  the  comple- 
tion of  the  designs  and  illustrations,  the  latter  are  repre- 
sented by  outlines  or  sketches,  the  proofs  being  inserted 
later  as  they  come  in  from  the  engraver. 

The  preliminary  sketches  in  dummies  are  frequently 
elaborate  and  costly,  sometimes  more  so  than  the  working 
drawings.  While  occasionally  this  seems  like  throwing 
money  away,  it  is  usually  money  well  spent.  Except  in 
the  case  of  very  simple  treatments,  it  is  exceedingly  diffi- 
cult to  design  an  artistic  book  without  first  making  careful 
sketches  and  layouts  the  exact  size  it  is  to  be  when  finished. 


An  eflFective  and  mcreasingly  popular  make-up  for  a 
catalogue  — illustrations  printed  on  coated  stock,  type 
pages  on  antique-finish  book-paper. 

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•fc^j 


>«!Sfr-«.. 


INTENTIONAL  SECOND  EXPOSURE 


PRINCIPLES 


V- 


AND      PRACTICE 


Combined  decorative  and  illustrative  treatment  of 

catalogue  pages. 

thT """k  out" **'*^*  ""aterials  into  pages  in  conformity  with 

Where  the  text  of  a  book  reads  continuously  from  page 
to  page,  and  the  illustrations  are  to  be  placed  in  juxtaposi- 
tion to  references  in  the  text,  as  in  the  present  book,  no 

Stlons'oT/r'fv.''^-  .^l*"  '^'''  ''  "*  "P  *"  g^»«ys.  the  illus- 
trations other  than  full-page  ones  are  "  broken  into  "  the 

text  at  the  proper  points,  and  the  whole  is  then  made  up 
into  pages  by  the  printer.  ^ 

Where  the  text  is  continuous  but  there  are  decorative 
designs  or  illustrations  or  both  that  require  to  be  placed  in 
certain  positions  on  certain  pages,  a  layout  is  necessary  for 

the  text  ^       *''  ''"^  ''  ""*^  "°*  '""^^  ^«°""t  °f 

In  many  cases,  however,  it  is  necessary  that  each  cata- 
logue page  be  complete  in  itself,  and  this  requires  a  layout 

2  weuTs'  nf  '  "''^^*i°':^*'°"  °f  every  portion  of  the  text, 
as  well  as  of  every  design  and  illustration.  Under  these 
circumstances  the  complete  make-up  is  indicated  by  the 

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layout,  and  it  is  only  necessary  for  the  printer  to  assemble 
the  material  in  accordance  with  the  dummy. 

If  any  or  all  of  the  designs  or  illustrations  have  been 
completed  at  the  time  the  dummy  is  made  up,  the  proofs 
should  be  pinned  or  pasted  in  position  on  the  proper  pages. 
(Pins  are  preferable  wherever  there  is  any  uncertainty  as 
to  the  proper  make-up,  since  they  permit  changes  to  be 
made  readily.) 

Where  the  making  of  the  dummy  precedes  the  comple- 
tion of  the  designs  and  illustrations,  the  latter  are  repre- 
sented by  outlines  or  sketches,  the  proofs  being  inserted 
later  as  they  come  in  from  the  engraver. 

The  preliminary  sketches  in  dummies  are  frequently 
elaborate  and  costly,  sometimes  more  so  than  the  working 
drawings.  While  occasionally  this  seems  like  throwing 
money  away,  it  is  usually  money  well  spent.  Except  in 
the  case  of  very  simple  treatments,  it  is  exceedingly  diffi- 
cult to  design  an  artistic  book  without  first  making  careful 
sketches  and  layouts  the  exact  size  it  is  to  be  when  finished. 


THK  sn  mrsAKKK    six    to!  i;i\ 

••.-.;■:.,  ■■..-•.,f,v>.K 

«  '•:■■:■  I*>.  r-lk-  ;-.  V.,;  -.^  thi>  ?*r  J>  I^KU«^ 
J*:it  -J  II-.  V.:.  i.1  «:y..?trf-  (.,  v(;^v.  CKVT-  . 
"^-  •       .•    !.  ■■'!  ;     I'.lin.    :):^"S!N      r.  .,, 

■}.      '.<■,    •Ill,        ;;w      *:,!,.;,,    \\,. 

■       !■■■>.!    ;,.^,-,.,  !,,  ,.,    (!-..    .,x      .;       ■ 
t.V  iW.     "n:<-  ■  Si!S  '  !..i.4-.!  ';->.  is.<!  ,,-A-.  ,  . 

1  K<  •vfi<M»ik.-i     .Six"  k  n  |.,vt. 
f«,<w;i«.-<  ^.,.:v»^  -'■«l!!r<«l;.«i  ..(*<■  ,..,,,„,„:    , 

^  ■      ti**';-;;   iVV|Jt^«^^M(v   . 


An  effective  and  increasingly  popular  make-up  for  a 
catalogue  —  illustrations  printed  on  coated  stock,  type 
pages  on  antique-finish  book-paper. 

95 


J. 
t-. . 


V' 


t\ 


mn 


PRINCIPLES      AND      PRACTICE 

THE  CENTER  "SPREAD" 

When  laying  out  a  catalogue  or  booklet  that  is  to  consist 
of  a  single  folded  sheet,  or  two  or  more  sheets  folded  and 
bound  one  within  the  other  (a  "  saddle-stitched"  book),  it 
is  well  to  remember  that  the  two  facing  pages  in  the  middle 
are  to  all  intents  and  purposes  a  single  page,  twice  the  size 
of  the  others.  This  makes  it  possible  to  run  an  illustration 
in  this  space,  of  a  size  that  otherwise  would  be  out  of  the 
question.  Notice  how  the  "center  spread"  is  utilized  by 
advertisers  in  "The  Saturday  Evening  Post,"  "Collier's 
Weekly,"  and  other  publications. 


Mi9M?«ttaA^r)u»> 


yriKl  ^il"": 


"i  Xf  '^  t      »  ^  ' 


•   •   •  • 


The  above  arrangement  —  prices  on  one  page  and  illustrations  on  the 
opposite  page  —  is  cheaper  and  more  attractive  than  the  more  common 
arrangement  of  separate  cuts  and  descriptions  or  prices  on  the  same 
page.  Small  photographs  of  these  articles  were  pasted  on  a  sheet  of 
drawing  board  and  a  single  half-tone  made  of  the  completed  group. 

SHOULD  THE  FACTORY  BE 
ADVERTISED? 

The  question  whether  a  picture  of  your  factory  should 
be  shown  in  your  catalogue  or  booklet  is  of  more  than 
casual  importance.    It  is  a  question  that  MAY  affect  onlv 


? 


\ 


OF        DIRECT       ADVERTISING 


a  single  page  in  the  catalogue  —  the  page  on  which  you 
propose  to  display  the  cut  of  the  factory.  But  it  is  much 
more  likely  to  affect  the  entire  catalogue,  in  that  it  may 
reflect  a  state  of  mind  not  favorable  to  the  success  of  your 
selling  effort. 

A  cut  of  the  factory,  in  itself,  or  a  cut  of  your  offices,  or 
organization,  will  neither  make  nor  mar  your  catalogue. 
But  your  REASON  for  wanting  to  show  any  of  these  may 
be  precisely  the  thing  that  will  determine  the  issue  of  your 
advertising  venture. 

GETTING  THE  OUTSIDE  VIEWPOINT 

If  you  have  been  sitting  inside  looking  out,  if  you  have 
been  proposing  to  build  your  catalogue  or  booklet  around 
the  things  that  interest  YOURSELF,  it  is  a  good  time  to 
try  to  get  outside,  to  get  the  viewpoint  of  the  people  whose 
patronage  you  are  seeking,  and  to  determine  whether  the 
things  that  interest  you  are  really  the  things  that  will  prob- 
ably interest  them. 

Get  this  outside  viewpoint,  and  you  will  readily  see  the 
futility  of  advertising  FACTORIES  AND  PRODUCTS, 
as  is  so  often  done,  to  people  who  can  not  reasonably  be 
expected  to  be  interested  in  either. 

Some  products,  it  is  true,  are  intrinsically  interesting, 
and  so  is  an  occasional  factory.  The  automobile  is  interest- 
ing, simply  as  a  mechanical  contrivance ;  and  its  desirability 
as  a  conveyance  is  so  universally  recognized  that  it  needs 
no  demonstration.  Automobiles,  therefore,  are  rightly 
advertised  on  a  competitive,  not  an  educational,  basis.  The 
manufacturer  knows  you  would  like  to  own  an  automobile, 
and  he  does  all  that  is  necessary  when  he  tells  you  how  his 
is  built,  and  why  it  is  better  than  the  other  fellow's. 

Where  this  intrinsic  interest  and  recognized  desirability 
are  lacking,  however,  it  is  safe  to  assume  that  the  product 
and  the  source  of  the  product  are  of  secondary  importance 
to  the  prospective  buyer. 

FINDING  THE  POINT  OF  APPEAL 

What  RESULTS  will  follow  the  purchase?  What 
EFFECT  will  it  have  on  the  health,  wealth,  comfort  or 

97 


.■,5s.  I 


I 


INTENTIONAL  SECOND  EXPOSURE 


7 


f ! 


I 


PRINCIPLES      AND      PRACTICE 


THE  CENTER  "SPREAD" 

When  laying  out  a  catalogue  or  booklet  that  is  to  consist 
of  a  single  folded  sheet,  or  two  or  more  sheets  folded  and 
bound  one  within  the  other  (a  "  saddle-stitched"  book),  it 
is  well  to  remember  that  the  two  facing  pages  in  the  middle 
are  to  all  intents  and  purposes  a  single  page,  twice  the  size 
of  the  others.  This  makes  it  possible  to  run  an  illustration 
in  this  space,  of  a  size  that  otherwise  would  be  out  of  the 
question.  Notice  how  the  "  center  spread  **  is  utilized  by 
advertisers  in  "  The  Saturday  Evening  Post,"  "  Collier's 
Weekly,"  and  other  publications. 


L 


A  4  A  «  ^  t    4  ^  A 


The  above  arrangement  —  prices  on  one  page  and  illustrations  on  the 
opposite  page  —  is  cheaper  and  more  attractive  than  the  more  common 
arrangement  of  separate  cuts  and  descriptions  or  prices  on  the  same 
page.  Small  photographs  of  these  articles  were  pasted  on  a  sheet  of 
drawing  board  and  a  single  half-tone  made  of  the  completed  group. 

SHOULD  THE  FACTORY  BE 
ADVERTISED? 

The  question  whether  a  picture  of  your  factory  should 
be  shown  in  your  catalogue  or  booklet  is  of  more  than 
casual  importance.    It  is  a  question  that  MAY  affect  onlv 

96 


OF       DIRECT       ADVERTISING 

a  single  page  in  the  catalogue  —  the  page  on  which  you 
propose  to  display  the  cut  of  the  factory.  But  it  is  much 
more  likely  to  affect  the  entire  catalogue,  in  that  it  may 
reflect  a  state  of  mind  not  favorable  to  the  success  of  your 
selling  effort. 

A  cut  of  the  factory,  in  itself,  or  a  cut  of  your  offices,  or 
organization,  will  neither  make  nor  mar  your  catalogue. 
But  your  REASON  for  wanting  to  show  any  of  these  may 
be  precisely  the  thing  that  will  determine  the  issue  of  your 
advertising  venture. 

GETTING  THE  OUTSIDE  VIEWPOINT 

If  you  have  been  sitting  inside  looking  out,  if  you  have 
been  proposing  to  build  your  catalogue  or  booklet  around 
the  things  that  interest  YOURSELF,  it  is  a  good  time  to 
try  to  get  outside,  to  get  the  viewpoint  of  the  people  whose 
patronage  you  are  seeking,  and  to  determine  whether  the 
things  that  interest  you  are  really  the  things  that  will  prob- 
ably interest  them. 

Get  this  outside  viewpoint,  and  you  will  readily  see  the 
futility  of  advertising  FACTORIES  AND  PRODUCTS, 
as  is  so  often  done,  to  people  who  can  not  reasonably  be 
expected  to  be  interested  in  either. 

Some  products,  it  is  true,  are  intrinsically  interesting, 
and  so  is  an  occasional  factory.  The  automobile  is  interest- 
ing, simply  as  a  mechanical  contrivance ;  and  its  desirability 
as  a  conveyance  is  so  universally  recognized  that  it  needs 
no  demonstration.  Automobiles,  therefore,  are  rightly 
advertised  on  a  competitive,  not  an  educational,  basis.  The 
manufacturer  knows  you  would  like  to  own  an  automobile, 
and  he  does  all  that  is  necessary  when  he  tells  you  how  his 
is  built,  and  why  it  is  better  than  the  other  fellow's. 

Where  this  intrinsic  interest  and  recognized  desirability 
are  lacking,  however,  it  is  safe  to  assume  that  the  product 
and  the  source  of  the  product  are  of  secondary  importance 
to  the  prospective  buyer. 

FINDING  THE  POINT  OF  APPEAL 

What  RESULTS  will  follow  the  purchase?  What 
EFFECT  will  it  have  on  the  health,  wealth,  comfort  or 

97 


^ 


■«' 

J* 


4\ 


^.r'-'v 


■■^■n 


PRINCIPLES      AND       PRACTICE 


happiness  af  the  buyer?  Will  he  or  she  be  better  off  after 
buying  than  before,  and  if  so,  why?  These  are  the  first 
things  a  buyer  asks,  and  they  are,  therefore,  the  first  things 
your  advertisement  should  tell,  if  it  is  to  get  the  buyer's 
favorable  attention.  The  "  end  "  should  come  first,  and  the 
means  to  the  end  afterward. 

A  picture  of  a  factory  or  mill  should  be  included  in  a 
catalogue  or  booklet  (or  excluded  from  it)  on  precisely  the 
same  grounds  that  govern  the  admission  of  other  material  — 
its  probable  effect  on  the  selling  power  of  the  advertisement. 

If  you  are  selling  a  staple  line  to  dealers,  and  it  is  impor- 
tant for  them  to  know  whether  you  are  a  manufacturer  or  a 
jobber,  your  factory  is  of  primary  importance,  and  a  picture 
of  it  should  appear  in  the  front  of  your  catalogue. 

WHEN  THE  FACTORY  IS  IMPORTANT 

If  the  product  is  an  automobile  not  too  well  known, 
prospective  purchasers  will  be  interested  to  know  whether 
it  is  a  "  manufactured  "  or  an  "  assembled  "  car,  and  it  would 
be  good  salesmanship  to  introduce  the  factory  in  evidence, 
if  there  is  one. 

Purchasers  are  also  interested  in  knowing  whether  the 
ostensible  maker  of  a  piano  is  the  real  maker,  not  a  jobber, 
and  it  is  customary  to  print  factory  pictures  in  piano  cata- 
logues to  make  this  point  clear.  The  factory  is  not  of  pri- 
mary importance  in  either  of  these  cases,  however,  and  its 
proper  place  is  in  the  back  of  the  book. 

If  you  are  selling  wearing  apparel,  table  delicacies, 
household  goods  other  than  pianos,  office  supplies,  etc.,  the 
factory  where  they  are  made  is  of  no  importance  whatever, 
so  far  as  consumer  advertising  is  concerned. 

There  is,  of  course,  no  harm  in  running  a  cut  of  the 
factory  in  the  back  of  a  catalogue  or  booklet,  even  where  it 
is  not  **  indicated "  by  advertising  requirements,  if  there 
happens  to  be  a  spare  page  that  would  otherwise  be  left 
blank.  The  argument  against  running  it  in  the  front  of 
such  a  book  is  not  that  it  would  be  objectionable  in  itself, 
but  that  it  w^ould  occupy  space  which  could  be  and  should 
be  used  to  better  advantage. 

98 


•'N 


\   l^^ 


^ 


OF        DIRECT 


ADVERTISING 


THE  COVER 

"Introducing  the  Salesman 


»» 


The  cover  of  a  catalogue  or  booklet  has  frequently  been 
likened  to  the  clothes  worn  by  a  salesman,  and  the  compari- 
son is  an  apt  one,  in  that  the  cover,  like  the  clothes,  is  a 
vital  factor  in  making  the  right  kind  of  impression  on  the 
man  or  woman  to  whom  you  are  appealing. 

The  attitude  of  a  prospective  customer  toward  a  sales- 
man is  determined  largely  by  the  salesman's  appearance 
and  manner  of  address,  and  it  is  precisely  so  with  a  cata- 
logue or  booklet. 

If  it  is  poorly  dressed,  it  may  be  either  refused  an  audi- 
ence or  received  with  scant  courtesy.  If  overdressed,  it  is 
regarded  very  much  as  YOU  would  regard  the  repre- 
sentations of  an  overdressed  individual. 

Only  when  the  catalogue  is  dressed  right,  only  when  it 
wears  apparel  suited  to  the  occasion,  does  it  make  the  favor- 
able impression  that  is  the  first  essential  of  all  successful 
selling. 

THE  QUALITY  OF  "  FITNESS  " 

In  catalogue  and  booklet  covers,  as  in  business  and  social 
life,  "  fitness  is  quality."  A  business  suit  at  a  formal  wed- 
ding, a  dress  suit  in  an  office,  would  be  no  more  out  of  place, 
and  only  a  little  more  certain  to  make  an  unfavorable  im- 
pression, than  the  wrong  kind  of  cover  (not  necessarily  a 
cheap  or  ill-looking  cover)  on  an  otherwise  well-designed 
and  effective  catalogue  or  booklet. 

If  a  booklet  carries  a  toilet-article  message  to  women,  it 
should  have  a  dainty  cover.  If  heavy  machinery  is  de- 
scribed, the  cover  should  give  an  impression  of  strength  -— 
daintiness  here  would  be  out  of  place.  If  a  catalogue  is 
likely  to  be  referred  to  frequently  by  workmen  in  a  shop, 

99 


t^w.-^ 


PRINCIPLES      AND      PRACTICE 


the  cover  should  be  in  dark  colors,  and  of  tough,  durable 
paper.  Dignity  is  the  proper  keynote  for  the  cover  of  a 
booklet  advertising  a  financial  establishment,  while  the  very 
opposite  quality  is  most  appropriate  and  effective  in  an 
advertisement  of  a  circus. 

Besides  making  a  favorable  impression  by  its  style  and 
effectiveness,  the  cover  may  often  be  designed  so  that  it  will 
give  definite  information,  or  convey  a  definite  suggestion. 


HOW  COVERS  CAN  HELP  SALES 

The  paper  "  clothes "  that  the  printed  "  salesman " 
wears,  in  other  words,  instead  of  merely  proclaiming  his 
character  and  respectability,  may  actually  begin  the  work 
of  selling  the  goods. 

The  means  of  accomplishing  this  may  be  a  picture,  a 
conventional  design,  a  lettered  phrase,  or  a  combination  of 
any  two  or  of  all  three. 

Where  the  superiority  or  advantages  of  an  article  are 
apparent  at  a  glance,  for  instance,  as  is  likely  to  be  the  case 
with  small  novelties,  a  picture  of  the  article  itself,  on  the 
cover  of  the  catalogue  or  booklet  describing  it,  is  much 
more  effective  than  the  name  of  the  article  alone.  The 
name,  in  fact,  might  be  entirely  devoid  of  significance  or 
interest,  unless  the  article  were  one  that  had  been  widely 
advertised. 

Where  the  article  is  not  obviously  interesting,  and  where 
its  name  has  no  recognized  significance,  the  strongest  selling 
appeal  is  usually  made  by  a  phrase  that  emphasizes  some 
point  of  superiority  that  the  article  possesses,  or  by  a  pic- 
ture that  visualizes  the  advantages  of  owning  it. 

If  you  were  to  read  the  words  "  New  Idea  Tie  "  on  a 
booklet  cover,  it  is  probable  that  you  would  not  be  par- 
ticularly interested.  The  words  would  tell  you  nothing 
about  the  tie  —  nothing  to  make  you  want  further  informa- 
tion about  it. 

100 


V         ^ 


J  >  t 


L\ 


O  F 


DIRECT       AD 


VERTISING 


THE  COVER  MUST  "  SAY  SOMETHING " 

Change  the  title  to  "  The  Tie  That  Never  Binds,"  and 
the  effect  would  be  quite  different.  If  that  did  not  interest 
vou.  it  would  only  be  because  you  do  not  wear  turn-over 
collars.  Most  men  who  wear  such  collars  have  more  or  less 
trouble  getting  their  ties  to  slide  through  them  propcrly, 
and  they  would  be  favorably  disposed  at  the  outset  toward 
an  advertiser  who  promised  relief  from  this  annoyance. 

A  picture  of  a  tie  could  be  used  effectively  on  this  cover, 
simply  to  make  it  more  attractive,  but  the  picture  would 
have  little  or  no  selling  value  without  the  phrase. 

Suppose,  however,  that  the  proposed  booklet  is  designed 
to  promote  the  sale  of  cement,  by  showing  builders  of  homes 
the  advantages  of  CONCRETE  as  a  building  material 
Here  the  advertiser  has  nothing  to  sell  to  the  man  who  reads 
the  booklet.  Neither  the  product  advertised,  nor  the  build- 
ing material  of  which  it  is  the  principal  ingredient,  can  be 
interestingly  pictured  or  described. 

The  strongest  appeal  to  the  imagination  and  self-interest 
of  the  prospect  under  these  circumstances  wiU  be  made  by 
showing  him  the  RESULT  of  using  concrete,  and  this 
means,  of  course,  that  the  basis  of  the  cover-design  should 
be  a  picture  of  a  typical  concrete  house. 

A  great  deal  of  the  most  effective  advertising  that  is 
done  nowadays,  whether  it  is  Direct  or  General  advertising, 
involves  this  principle  of  concentrating  on  the  results  that 
can  be  obtained  by  specifying  or  using  the  article  adver- 
tised, rather  than  on  the  article  itself. 

MAKING  THE  SKETCH 

The  making  of  a  sketch  for  a  cover-design  is  Ae  artist's 
concern.  It  is  not  to  be  expected  that  the  man  ordering  the 
sketch  will  tell  the  artist  how  it  is  to  be  made;  but  many 
artists,  even  the  best  of  them,  are  likely  to  ^g^ore  some  of 
the  mechanical  requirements  that  must  be  met  m  designing 

lOI 


\ 


ii 


^  1 


PRINCIPLES      AND      PRAC  T  I  C  E 

a  cover  to  be  produced  economically;  it  is  therefore  well 
for  the  advertiser  to  know  the  requirements  of  this  part  of 
the  work.  One  of  the  things  the  artist  should  keep  in  mind, 
and  that  the  advertiser  should  put  into  the  artist's  mind  if 
It  IS  not  already  there,  is  that  while  it  is  permissible,  yet  it 
is  not  obligatory  to  print  all  cover-designs  on  WHITE 
paper. 

This  caution  is  necessary  for  the  reason  that  artists 
usually  make  sketches  on  white  drawing-paper,  adding  to 
this  white  paper  whatever  color  is  necessary  to  produce 
the  desired  effect.  In  this  way  the  possibility  of  producing 
the  desired  effect  on  colored  paper  with  fewer  printings  is 
often  lost  sight  of. 

HOW  PAPER  SAVES  PRINTING 

Taking  the  various  colors  of  BUCKEYE  COVER  as  an 
example,  if  it  is  desired  to  produce  a  fire  scene,  it  can  be 
done  very  effectively  by  printing,  not  red  and  black  on 
white  paper,  but  black  alone  on  SCARLET  BUCKEYE 
COVER.  The  effect  of  the  black  ink  on  the  scarlet  paper 
will  be  much  more  striking  than  could  be  produced  on 
white  paper,  because  the  color  of  the  paper  is  much  more 
intense  than  that  of  any  red  printing-ink. 

If  it  is  desired  to  show  a  night  scene  in  which  are  illumi- 
nated buildings,  again  it  can  be  done  with  one  printing,  if 
the  printing  is  done  on  BUFF  BUCKEYE  COVER. 

A  silhouette  plate  is  made,  printing  the  buildings  in 
black  or  brown,  and  the  "  illumination  "  is  achieved  simply 
by  allowing  the  paper  to  show  through,  or  in  other  words 
leaving  it  unprinted,  where  the  windows  and  lights  are  to 
be  represented. 

Similar  instances  might  be  multiplied  indefinitely,  but 
the  argument  would  be  the  same  throughout  —  that  it  is 
seldom  necessary  to  PRINT  all  of  the  colors  that  are  to 
appear  in  a  cover-design.  It  is  always  desirable  to  consider 
at  the  outset  whether  the  stock  itself  can  not  be  utilized  as 
one  of  the  colors  which  it  is  desired  to  produce. 

102 


l,i 


OF       DIRECT       ADVERTISING 


MAKE  SKETCH  ON  THE  RIGHT  PAPER 

Where  it  is  possible  to  determine  this  point  before 
making  the  sketch  —  where  the  effect  that  is  wanted  is 
known  definitely  in  advance — the  sketch  should  be  made  on 
the  paper  that  is  actually  to  be  used.  This  does  away  with 
all  uncertainty  as  to  the  possibility  of  producing  the  desired 
effect  on  paper  of  a  certain  color,  and  it  also  provides  the 
printer  and  engraver  with  an  exact  guide  that  indicates  not 
only  the  results  to  be  achieved,  but  also  the  color  of  the 
printing  and  the  kind  of  paper  that  must  be  used. 


COVER-DESIGNS  FROM  TYPE 

Where  the  appropriation  for  a  Catalogue  or  Booklet 
does  not  provide  or  allow  for  a  drawn  cover-design,  the 
usual  alternative  is  to  print  the  title  from  type  alone,  or 
from  a  type-and-rule  arrangement  set  up  by  the  printer. 

Very  often  such  type-and-rule  cover-designs  are  entirely 
adequate  and  satisfactory,  but  sometimes  they  are  not,  and 
it  is  therefore  well  to  bear  in  mind  the  possibility  of  improv- 
ing them  at  moderate  cost  by  making  line-engravings  from 
the  printers'  proofs. 

By  using  Ben  Day  tints,  reversing  colors,  etc.,  the 
engraver  can  modify  a  type-design  in  many  ways,  and  thus 
greatly  increase  the  probability  of  its  meeting  the  exact 
requirements  of  the  advertiser,  and  of  the  cover  on  which 
the  design  is  to  be  used. 

A  type-and-rule  border,  as  an  example,  may  be  satisfac- 
tory as  to  general  arrangement,  and  may  look  well  when 
proved  in  black  and  white,  while  being  entirely  too  weak 
when  printed  in  colored  ink  on  a  colored  stock.  By  revers- 
ing the  colors,  however,  the  effect  on  the  dark-colored  stock 
may  be  exactly  what  is  wanted. 

The  accompanying  plate  shows  nine  miniature  cover- 
designs,  all  of  which  were  made  from  the  same  copy,  repre- 
senting a  type-and-rule  arrangement  such  as  would  be  set 

103 


P 


PRINCIPLES       AND       PRACTICE 


k 

^  ^W'- '"./  ► 

4 

0 
■.♦■ 

BUTKFYE 
COVERS 

N 


BUCKEYE 
COVERS 


■MM 


" 

BUCKEYE 
COVERS 

^^^ 

BUCKEYE 
COVERS 

BUCKEYE 
COVERS 


P 

buckeye!  i 

COVERS! 


Nine   variations    on   a   "  type-and-rtile "   theme.     These   cover- 
designs  were  all  produced  from  the  same  copy  by  using  "  Ben  Day 
tints  in  combination  with  solid  color. 


\, 


\\ 


OF       DIRECT       ADVERTISING 


up  by  a  printer.  These  reproductions  give  only  a  limited 
idea  of  the  extent  to  which  a  single  simple  design  can  be 
modified,  for  the  reason  that  here  only  one  color  has  been 
used.  If  another  color  were  added  the  possible  modifica- 
tions would  be  more  than  doubled. 

This  method  can  be  utilized  advantageously,  not  only 
as  a  means  of  improving  an  unsatisfactory  type-and-rule 
cover-design,  but  also  as  a  means  of  securing  a  variety  of 
effects  from  a  satisfactory  design  that  is  to  be  used  on  a 
series  of  advertisements. 


SELECTING  THE  COVER-PAPER 

When  selecting  the  stock  for  the  cover  of  a  Catalogue  or 
Booklet,  assuming  it  has  not  already  been  selected  by  the 
artist  who  made  the  cover-design,  the  most  important  point 
to  keep  in  mind  is  that  you  are  choosing,  not  a  finished 
product,  but  a  printing  material  — the  BACKGROUND, 
in  other  words,  against  which  the  cover-design  of  the  book 
is  to  be  displayed. 

Of  several  unprinted  samples  that  you  examine,  whether 
in  dummy  form  or  not,  the  one  that  you  find  most  attractive 
may  be  precisely  the  one  that  will  prove  least  attractive, 
and  that  will  have  least  selling  value  when  YOUR  COVER- 
DESIGN  is  printed  upon  it.  If  that  particular  paper  hap- 
pens also  to  be  expensive,  as  compared  with  the  one  that 
would  have  been  most  suitable,  you  will  have  thrown  away 
a  more  or  less  considerable  amount  of  money,  besides 
putting  a  serious  limitation  upon  the  effectiveness  of  your 
book. 

AVOIDING  COSTLY  MISTAKES 

Most,  if  not  all,  of  the  mistakes  that  are  made  in  select- 
ing cover-papers  would  be  avoided  if  the  selections  were 
made  from  PROOFS  OF  THE  DESIGN  THAT  IS  TO 
BE  USED  instead  of  from  sample-books  or  unprinted 
sample  sheets. 

los 


tfal 
^  ':  T 


^"l; 


PRINCIPLES       AND       PRACTICE 


When  a  number  of  unprinted  dummies  or  sample  sheets 
are  examined,  it  is  natural  to  prefer  the  one  that  is  intrin- 
sically the  most  attractive  —  the  one  with  an  unusual 
texture  or  a  novel  coloring.  It  is  also  entirely  natural  for 
the  printer  to  count  on  this  fact  when  he  is  making  up  the 
dummies.  He  is  out  to  get  the  order,  and  if  he  has  to  do  it 
by  selling  blank  paper,  he  can  not  be  blamed  for  picking  the 
kind  that  is  easiest  to  sell. 

The  practice  is  costly  for  both  the  advertiser  and  the 
printer,  however,  because  the  WRONG  paper,  which  is  as 
likely  as  not  to  be  chosen  by  this  method,  may  prove  the 
most  troublesome  of  all  for  the  printer  to  manipulate,  while 
at  the  same  time  being  the  least  satisfactory  when  printed. 

PAYING  MORE  AND  GETTING  LESS 

Crash  Finish  BUCKEYE  COVER,  as  an  example,  costs 
considerably  more  than  Antique  Finish.  As  a  manufactured 
product,  it  is  actually  worth  the  higher  price.  But  it  is 
worth  the  higher  price  TO  THE  ADVERTISER  in  a 
relatively  small  number  of  cases.  It  must  be  used  exactly 
right,  or  it  is  exactly  the  WRONG  paper  to  use.  If  a  cover- 
design  consists  of  an  arrangement  of  light-face  type  and 
rule,  and  Crash  Finish  BUCKEYE  COVER  (or  other 
rough-finished  paper)  is  selected,  the  higher  price  will  be 
paid,  not  for  a  better  result  than  could  be  produced  on 
Antique  Finished  paper,  but  for  precisely  the  opposite,  a 
poorer  result.  The  light-face  type-and-rule  arrangement 
will  not  show  up  satisfactorily  on  the  Crash  Finish  paper, 
and  the  printer  will  be  likely  to  spoil  his  type  printing  it 
into  the  bargain. 

FINDING  THE  RIGHT  COVER 

Misalliances  of  this  sort,  mismatings  of  papers  and 
designs,  with  their  attendant  waste  of  time  and  money,  can 
be  avoided  only  by  careful  selection  and  adaptation,  making 
the  design  fit  the  paper  if  for  any  reason  it  is  desired  to  use 
a  certain  paper  willy-nilly;   but  preferably  by  selecting  the 

io6 


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./ 


OF       DIRECT        ADVERTISING 


paper  on  which  a  predetermined  design  can  be  displayed 
to  best  advantage. 

Unless  the  design  has  been  drawn  by  an  experienced 
commercial  artist  who  has  selected  the  paper  and  demon- 
strated its  suitability  by  making  a  preliminary  sketch  on  it, 
the  best  plan  is  to  have  the  plates  proved  up  on  the  paper 
or  papers  that  SEEM  suitable,  basing  the  final  selection 
on  the  actual  results  that  are  thus  produced. 

WHEN  THE  PAPER  MUST  BE 
SELECTED  FIRST 

In  this  way  the  danger  of  selecting  an  unsuitable  paper 
and  perhaps  paying  more  for  it  than  for  the  paper  that 
would  have  been  suitable,  will  be  eliminated. 

Where  this  is  not  practicable  —  where  for  any  reason 
the  paper  must  be  selected  before  the  design  has  been 
decided  upon  —  the  safest  way  is  to  choose  a  cover-paper  on 
which  the  widest  possible  variety  of  designs  can  be  printed 
acceptably,  avoiding  dark  colors  and  very  rough  or  uneven 
surfaces. 

WHAT  OUR  RECORDS  SHOW 

In  this  connection  the  sales  records  of  BUCKEYE 
COVERS  are  not  without  significance.  Of  the  four  finishes 
manufactured  (Antique,  Ripple,  Crash  and  Plate),  the 
Antique  Finish  so  far  outsells  the  three  others  that  it  makes 
up  the  bulk  of  our  output.  The  most  attractive  specimens 
that  we  receive  from  users  of  BUCKEYE  COVERS,  more- 
over, are  on  this  finish.  The  lighter  colors  are  equally  pre- 
dominant, as  compared  with  the  darker  ones. 

Almost  any  representative  collection  of  high-grade  Cata- 
logues and  Booklets  will  be  found  to  reflect  this  preference 
for  the  lighter-colored  antique  finished  cover-papers,  and 
it  is  therefore  obvious  that  they  are  the  advertiser's  "  best 
bet "  whenever  it  is  not  definitely  known  that  better  results 
can  be  produced  by  using  another  kind. 

107 


PRINCIPLES       AND       PRACTICE 


•^ANTIQUE  FINISH"  MADE  BY 
MANY  MILLS 

To  make  sure  that  the  foregoing  paragraphs  are  not 
construed  as  an  advertisement  of  BUCKEYE  COVERS,  it 
should  be  stated  that  antique-finished  cover-papers  are 
included  in  many  other  cover  lines,  although  sometimes 
under  another  designation  —  as  "  Eggshell "  finish,  for 
example.  The  cover  and  end  sheets  of  this  book  (Antique 
Finish  BUCKEYE  COVER)  may  be  taken  as  fairly  repre- 
sentative of  this  class  of  papers. 


COVER  STYLES 

INTEGRAL  COVERS.—  The  simplest  and  cheapest  — 
and  least  effective  —  method  of  covering  a  booklet  is  not 
to  use  a  separate  cover  at  all,  but  to  print  the  entire  book  on 
the  same  paper,  the  two  outside  leaves  serving  as  the  front 
and  back  covers  respectively.  Many  small  pamphlets,  and 
occasionally  a  large  one,  are  gotten  out  in  this  form,  and  for 
some  purposes  it  is  entirely  adequate.  The  outside  leaves 
of  such  a  book  may  be  given  somewhat  the  appearance  of 
separate  covers  by  printing  a  design  that  entirely  covers  the 
stock,  either  on  the  front  page  alone,  or  on  both  the  front 
and  back  pages.  To  be  fully  effective,  the  plates  should  be 
made  somewhat  larger  than  the  finished  book  is  to  be,  so 
that  the  design  will  "  bleed  off  "—  that  is,  run  clear  off  the 
edges  of  the  paper,  when  the  book  is  trimmed.  The  "  Farm 
Telephone  Tale  "  booklet  in  the  accompanying  illustration 
is  an  example  of  this  treatment,  although  intended  primarily 
to  suggest  the  use  of  half-tone  cover-designs  on  smooth- 
finished  papers. 

FLUSH  TRIMMED  COVERS.— When  a  separate 
cover  is  bound  onto  the  body  of  a  book  before  the  latter  has 
been  trimmed,  and  the  two  are  then  trimmed  together,  mak- 
ing the  cover  pages  the  same  size  as  the  body  pages,  the 

io8 


9j^-  T 


OF       DIRECT       ADVERTISING 


cover  is  said  to  be  "  flush  trimmed."  This  is  the  cheapest 
method  of  finishing  a  covered  book,  since  only  one  set  of 
trimming  operations  is  required,  and  the  binding  process  is 
considerably  simplified.  The  cover  of  this  book  is  flush 
trimmed.  Where  the  appearance  of  a  book  is  of  great 
importance,  however,  and  particularly  if  the  book  consists 


Types  of  cover-designs  printed  from  half-tones  on 
plaie  finish  BUCKEYE  COVER.  The  one  on  the  left 
in  two  colors ;  the  other  in  one  color. 


of  a  comparatively  small  number  of  pages,  it  is  usually 
advisable  to  specify  an  extension  cover.  (Flush  trimming  is 
much  more  acceptable  on  thick  books  than  on  thin  ones.) 

EXTENSION  COVERS.— If  you  look  over  any  col- 
lection of  high-grade  catalogues  and  booklets,  you  will  find 

109 


5.  a 


khl 


,'■  (, 


PRINCIPLES      AND       PRACTICE 


that  the  covers  of  most  of  them  extend  from  an  eighth  to  a 
quarter  of  an  inch  beyond  the  text  pages  on  the  side  oppo- 
site the  binding,  and  also  on  the  top  and  bottom.  These 
are  called  **  extension  covers."  They  are  more  expensive 
than  flush-trimmed  covers,  because  the  body  of  the  exten- 
sion-covered book  must  be  stitched  or  stapled  and  trimmed 
BEFORE  the  cover  is  put  on.  Putting  on  the  cover  is  a 
separate  operation,  and  requires  more  care  than  if  the  book 
were  to  be  flush  trimmed.  If  the  extension  cover  carries  a 
"  bled  off  "  design,  it  must  be  trimmed  AFTER  it  is  printed, 
but  before  it  is  bound  onto  the  book;  otherwise  the  cover 
may  be  trimmed  to  the  exact  size  before  it  is  printed,  and  it 
will  then  require  no  further  trimming. 

SECONDARY  COVERS.— These  are  extra  sheets  of 
cover  paper  inserted  between  the  outside  cover  and  the 
body  of  a  book,  and  they  are  used,  in  the  majority  of  cases 
at  least,  purely  as  an  embellishment.  Secondary  covers 
are  sometimes  the  same  size  as  the  outside  cover.  Occa- 
sionally they  are  trimmed  to  a  size  between  the  two. 
Secondary  covers  do  not  add  greatly  to  the  cost  of  a  fine 
catalogue  or  booklet,  and  as  a  rule  they  do  add  very  greatly 
to  its  attractiveness. 

"  BOARD  COVERS "  are  covers  which  have  been 
stiffened  by  reinforcing  them  with  cardboard,  strawboard 
or  other  suitable  material.  Where  boards  are  used,  the 
covering  material  may  be  either  paper  or  cloth.  The  major- 
ity of  the  books  offered  for  sale  in  book  stores  are  examples 
of  board-reinforced  cloth  bindings.  Paper  board  covers  are 
seen  more  frequently  on  children's  books  and  on  special 
holiday  books.  The  number  of  commercial  catalogues 
issued  with  such  covers  is  relatively  small,  but  is  growing. 

FLEXIBLE  LEATHER  COVERS  are  too  expensive 
to  be  considered  in  connection  with  catalogues  intended  for 
general  distribution,  except  in  very  exceptional  cases. 
Many  concerns,  however,  have  found  that  when  they  are 
getting  out  a  new  catalogue,  it  pays  to  have  a  limited  num- 
ber of  copies  bound  in  flexible  leather,  for  distribution  to 

no 


O   F 


DIRECT       ADVERTISING 


the  company's  officers,  stockholders,  salesmen,  or  preferred 
customers,  according  to  circumstances.  Board  bindings  are 
also  used  in  the  same  manner.  The  names  of  the  individuals 
to  whom  the  copies  are  sent,  are  sometimes  printed  or 
stamped  upon  the  covers  of  such  special  editions. 

Part  of  any  edition  of  a  catalogue  or  booklet  may  be 
bound  in  paper  or  cloth  boards,  or  in  leather,  without  refer- 
ence to  the  style  of  cover  and  binding  that  is  being  used 
for  the  balance  of  the  edition. 

LINING  AND  END  SHEETS.— By  referring  to  the 
front  and  back  covers  of  this  book,  it  will  be  seen  that  inside 
each  of  them  a  separate  sheet  has  been  pasted,  one-half  of 
each  pasted  sheet  forming  a  flyleaf.  This  is  known  as  a 
pasted-down  end  sheet.  In  some  books  the  end  sheet  is 
bound  separately  to  the  body  of  the  book,  forming  a  secon- 
dary cover,  and  the  pasted  sheet  runs  continuously  across 
the  inside  of  the  cover  from  the  front  to  the  back.  The 
pasted  sheet  is  then  known  as  a  lining  sheet.  End  sheets 
were  used  in  the  present  instance  simply  to  give  the  book  a 
more  finished  appearance.  Had  the  cover  been  embossed, 
however,  the  end  sheets  would  have  served  the  additional 
purpose  of  covering  up  the  reverse  side  of  the  embossing, 
which  otherwise  would  have  detracted  considerably  from 
the  effectiveness  of  the  book. 

Lining  and  end  sheets  together,  or  pasted-down  end 
sheets  alone,  add  greatly  to  the  appearance  of  a  book,  and 
while  they  also  add  considerably  to  the  cost  of  the  binding, 
it  is  not  always  necessary  to  increase  the  cost  of  THE 
BOOK  in  anything  like  the  same  proportion.  Where  it  is 
proposed  to  use  a  single  cover  made  of  a  very  expensive 
paper,  as  an  example,  it  will  often  be  found  that  the  book 
can  be  made  much  more  effective  by  using  a  less  costly 
paper,  putting  the  saving  into  lining  and  end  sheets.  This 
is  a  possibility  that  it  is  always  worth  while  to  consider 
when  deciding  upon  the  make-up  of  an  important  catalogue 
or  booklet. 


Ill 


ffl! 


M' 


PRINCIPLES      AND      PRACTICE 

SELLING  POSSIBILITIES  OF  THE 

BACK  COVER 

Most  advertisers  realize  the  importance  of  printing 
effective  designs  on  the  front  covers  of  their  catalogues  and 
booklets.  The  habit  of  considering  the  selling  possibilities 
of  the  back  cover  is  less  common,  but  it  is  nevertheless  one 
that  should  be  cultivated.  The  conclusion  of  a  selling  story 
is  hardly  of  less  importance  than  the  introduction,  and  in 


INDEX 


&w«  "Hvw  to  OtUr 


Oft  wmiA*  frool  ^f •  of  vo*««i. 


Catalogue  with  index  printed  on  inside  of  extension  of  back 
cover.  The  shaded  flap  was  folded  around  the  edge  of  the  closed 
book  to  enable  it  to  be  mailed  without  an  envelope.  This  flap  would 
be  omitted  if  the  catalogue  were  to  be  mailed  in  an  envelope. 
BUCKEYE  COVER  was  used  for  this  job. 

many  cases  the  back  cover  of  a  book  can  be  made  to  provide 
a  conclusion  that  will  greatly  increase  the  pulling  power  of 
the  advertisement. 

Where  order  blanks,  information  blanks,  return  postals, 
coin  cards,  samples,  etc.,  are  to  be  sent  out  with  a  catalogue, 
it  is  often  advantageous  to  incorporate  them  in  the  cover  or 
attach  them  to  it  in  such  a  way  that  they  will  be  before  the 

112 


OF       DIRECT       ADVERTISING 


^< 


f  I 


PRINCIPLES       AND       PRACTICE 


prospect  while  he  is  reading  the  book.  This  is  particularly 
true  of  indexes  and  other  tables  that  must  be  constantly 
referred  to. 

In  the  "  Tools  With  the  Quality  Mark  "  Catalogue  here 
illustrated,  it  will  be  noted  that  the  Index  is  printed  on  the 
inside  of  an  extension  of  the  back  cover,  where  it  is  much 
more  readily  consulted  than  if  it  were  printed  on  a  page  in 
the  body  of  the  book. 

Another  catalogue  issued  by  the  same  advertiser  had  a 
similar  extension  on  the  back  cover,  which  carried  an  order 
blank  and  a  space  for  memoranda. 

The  Lyon  &  Healy  music  roll  bulletin,  shown  on  another 
page,  had  a  perforated  reply  postal  incorporated  in  the 
cover,  the  customer's  name  being  filled  in  so  that  it  served 
as  both  signature  and  address.  The  FRONT  cover  carried 
the  postal  in  this  case,  the  reason  for  which  will  be  apparent 
from  the  illustration.  Had  the  booklet  been  intended  for 
mailing  in  an  envelope,  and  had  a  designed  front  cover  been 
used,  the  perforated  postal  could  have  been  incorporated 
just  as  readily  —  and  just  as  advantageously  —  in  the  back 
cover. 

BINDING  STYLES 

Most  catalogues  and  booklets  are  made  up,  so  far  as 
their  text  pages  are  concerned,  of  either  a  single  folded 
sheet,  or  two  or  more  sheets  folded  one  within  the  other. 
Such  books  as  a  rule  are  SADDLE  STITCHED,  which 
means  that  they  are  held  together  by  wire  staples  (inserted 
by  machinery)  through  their  backs.  "  The  Saturday  Even- 
ing Post "  is  bound  in  this  way.  If  the  cover  of  a  saddle- 
stitched  book  is  to  be  flush  trimmed  (See  "  Cover  Styles  "), 
it  is  put  on  before  the  book  is  stitched,  and  the  two  stapled 
together  at  one  operation.  If  an  extension  cover  is  pro- 
vided, the  body  of  the  book  must  be  stitched  and  trimmed 
first,  and  the  cover  stitched  on  afterward. 

Books  can  be  saddle  stitched  only  up  to  a  certain  thick- 
ness, depending  upon  the  weight  of  the  paper,  the  number 

114 


v^i?'/ 


OF        DIRECT       ADVERTISING 


of  pages,  the  character  of  the  book,  etc.  Thicker  books, 
made  up  of  two  or  more  folded  sheets  or  sections,  must  be 
either  SEWED,  as  this  book  is,  or  SIDE  STITCHED,  as 
most  of  the  popular  magazines  and  many  commercial  cata- 
logues are.  Side  stitching  is  the  cheaper  method,  and  sew- 
ing the  better,  as  it  allows  the  book  to  open  flat.  The  covers 
of  side-stitched  and  sewed  books  as  a  rule  are  glued  to  the 
backs. 

SILK  CORD  or  floss  or  other  suitable  material  can  be 
added  as  an  embellishment  to  either  saddle-stitched  or  side- 
stitched  books.  The  necessary  holes  are  punched  by  ma- 
chinery, and  the  cord  or  floss  inserted  and  tied  by  hand. 
Thin  books  are  sometimes  saddle  stitched  with  silk  floss  by 
machinery,  but  not  many  concerns  are  equipped  to  do  this. 


LOOSE-LEAF  CATALOGUES 

Permanent  bindings  do  not  meet  the  requirements  of  all 
advertisers.  Conditions  often  make  it  necessary  or  desir- 
able to  issue  catalogues  in  such  form  that  sheets  can  be 
readily  inserted  or  removed,  and  a  few  of  the  approved 
methods  of  accomplishing  this  are  shown  in  the  accom- 
panying illustration. 

In  the  "  Moreland  "  Truck  Catalogue  the  separate  sheets 
were  punched  and  attached  to  a  fold  in  the  cover  by  means 
of  ordinary  McGill  paper  fasteners.  The  cover  was  a  single 
sheet  of  paper,  the  method  of  folding  which  can  be  seen  by 
looking  closely  at  the  illustration. 

In  the  "  ^Valker  Balance  Drive  "  Catalogue,  the  separate 
sheets  were  tied  with  a  ribbon  to  a  flap  on  the  center  fold 
of  a  three-fold  cover.  The  sheets  on  the  outside  folds  are 
permanent  tip-ons  (separate  sheets  pasted  to  the  cover) 
showing  details  of  construction. 

The  "Armleder  "  Catalogue  consists  simply  of  a  number 
of  punched  sheets  tied  into  the  cover  by  a  silk  cord. 

The  "Argo  Electric"  Catalogue  was  more  properly 
speaking  a  portfolio,  since  the  sheets  were  inserted  loose  in 

"5 


*'\ 


■    1 


1; 

f  . 


[l  I 


PRINCIPLES      AND      PRACTICE 


the  cover,  and  not  attached  to  it  in  any  way.  The  purpose 
here  was  not  so  much  to  anticipate  the  necessity  of  remov- 
ing or  adding  sheets,  as  to  provide  illustrations  of  the 
various  models  in  sXich  form  that  they  could  be  arranged 
side  by  side  for  easy  comparison. 


A  few  novel  styles  of  "  loose-leaf  "  catalogues.     See  references  in  text. 

A  recent  Packard  Motor  Car  Catalogue,  probably 
designed  with  a  similar  end  in  view,  consisted  of  a  number 
of  separate  sheets  carrying  the  illustrations  of  the  various 
models,  while  the  text  was  incorporated  in  a  separate  bound 

ii6 


OF       DIRECT       ADVERTISING 


>^v 


/^ap. 


Novel  and  eflFective  treatment  of  return  post-card  suitable  for  use  in 
catalogue,  booklet  or  folder.  Post-card  can  be  integral,  or  a  separate 
card  attached  by  inserting  corners  in  slots  cut  in  book  or  folder. 


i;: 


PRINCIPLES      AND       PRACTICE 


pamphlet,  the  two  being  enclosed  in  a  portfolio.  Other 
catalogues  have  the  text  pages  permanently  bound  into  a 
cover,  while  the  sheets  carrying  the  illustrations  are  inserted 
in  a  pocket  in  the  back  of  the  book. 


UTILIZING  WASTE  COVER- STOCK 

Occasionally  an  advertiser  finds  it  necessary  to  get  out  a 
catalogue  or  booklet  of  a  size  that  makes  it  impossible  to 
cut  the  cover  economically  out  of  a  stock  size  of  cover- 
paper. 

If  the  edition  is  to  be  a  large  one,  the  cover-paper  may 
be  obtainable  in  a  special  size  that  will  cut  without  waste. 
For  small  editions,  however,*  it  is  necessary  to  use  stock 
sizes  of  paper,  and  this  means  that  a  part  of  each  sheet  will 
be  wasted,  so  far  as  serving  the  purpose  for  which  it  was 
purchased  is  concerned. 

This  waste  the  advertiser  pays  for,  whether  he  uses  it  or 
not,  and  it  is  therefore  well  to  bear  in  mind  the  possibility 
of  using  it  for  other  small  advertising  forms.  Often  this  can 
be  done  very  effectively  and  economically. 

The  illustration  shows  a  stock-size  sheet  of  cover-paper 
from  which  four  covers  are  to  be  cut,  leaving  a  strip  of  waste 
stock  from  which  a  small  folder  or  envelope  stuffer  and  two 
post-cards  can  be  obtained.  The  edition  in  this  case  is  pre- 
simied  to  be  large  enough  to  make  it  economical  to  print  the 
cover  "  four  on  "  from  four  duplicate  plates  —  that  is,  print 
four  complete  covers  at  each  impression,  printing  one  side 
of  the  folder  and  postals  at  the  same  time. 

If  the  cover  were  printed  "  two  on,"  half  of  the  waste 
strip  could  be  printed  with  the  two  upper  plates  and  the 
other  half  with  the  lower;  or  all  of  the  waste  strip  could  be 
printed  with  the  two  right-hand  plates. 

*A  "small"  edition,  from  the  paper  maker's  standpoint,  is  one 
requiring  less  than  a  ton  of  paper.  The  number  of  copies  would,  of 
course,  depend  upon  the  size  of  the  book. 


\ 


^ 


Viv/ 


\ 


OF       DIRECT 


ADVERTISING 


If  the  covers  were  printed  one  at  a  time,  it  is  obvious 
that  the  stock  could  be  cut  so  that  one  quarter  of  the  sheets 
would  carry  a  cover  and  the  folder,  the  two  being  printed 
together,  and  another  quarter  would  carry  a  cover  and  the 
two  postals. 


Acme 


Thr- 

Acme  PmNrCo, 

CHICAGO.  ILL. 


ACME 


f 


Acme  Print  Co 

CHICAGO  ILL 


Acme  Print  Co 

CHicwco  ai. 


Utilizing  "waste"  cover-stock.  Shaded  portion  shows  folder 
and  two  postals  printed  at  same  impression  as  the  covers,  on  paper 
that  would  ordinarily  be  discarded. 

It  is  not  always  practicable  and  economical  to  print 
waste  stock  in  this  way,  but  the  stock  alone  is  worth  saving 
if  it  is  a  good  quality  of  cover-paper. 

Further  suggestions  in  connection  with  the  utilization 
of  stock  that  would  otherwise  be  wasted  will  be  found  under 
the  heading  "  Envelope  Stuffers."     (See  Index.) 


ii8 


119 


MB 


Ih 


^ 


1 


« 


!  'I     \ 


I 


PRINCIPLES      AND      PRAC  T  I  C  E 

MAILING  CATALOGUES  AND 

BOOKLETS 

Importance  of  Using  Suitable  Envelopes 

"  How  about  the  envelopes?"  is  a  question  that  ought 
to  be  in  the  mind,  if  not  before  the  eye,  of  every  man  charged 
with  the  duty  of  getting  out  a  catalogue  or  booklet  intended 
for  mailing. 

The  envelopes  in  which  a  catalogue  is  mailed  are  usually 
ordered  in  a  hurry,  at  the  last  minute  —  and  they  usually 
look  it.  More  advertisers  would  make  their  catalogue 
envelopes  the  subject  of  forethought  instead  of  afterthought 
if  they  could  see  some  of  the  catalogues  after  they  have  been 
through  the  mails. 

Recently  a  large  eastern  manufacturer  had  occasion  to 
write  to  some  two  hundred  representative  concerns  for  their 
catalogues,  and  of  these  less  than  ten  per  cent  were  received 
in  perfect  condition.  The  others  were  soiled,  abraded  and 
torn  to  a  greater  or  lesser  extent,  due  to  the  use  of  cheap, 
flimsy  envelopes. 

Such  envelopes  are  a  doubly  expensive  "economy." 
They  make  a  bad  impression  by  their  own  untidy  appear- 
ance, and  they  detract  from  the  effectiveness  of  the  cata- 
logue or  booklet  to  just  the  extent  that  they  allow  it  to  be 
defaced  by  the  wear  and  tear  of  transportation. 

The  remedy,  or  rather  the  preventive  that  is  better  than 
any  remedy,  is  to  insure  the  effectiveness  of  your  fine  cata- 
logues and  booklets  by  mailing  them  in  substantial,  attrac- 
tive envelopes,  preferably  envelopes  made  of  the  same  paper 
as  the  covers. 

"ENVELOPES  TO  MATCH"  means  the  highest 
attainable  degree  of  effectiveness  in  catalogue  mailing,  and 
it  is  a  good  phrase  to  write  into  your  specifications. 

lao 


OF       DIRECT        ADVERTISING 


V 


V.   / 


BUCKEYE  COVER  ENVELOPES  carry  catalogues  and  book- 
lets more  safely  than  ordinary  envelopes,  and  present  them  to  the 
prospect  more  attractively.  The  above  are  representative  exam- 
ples, showing  the  effect  of  appropriate  printing. 


PRINCIPLES       AND 


PRACTICE 


# 
r. 


m 


i; 


I 


HOUSE  ORGANS 

Most  Direct  Advertisements,  and  in  fact  most  advertise- 
ments of  whatever  sort,  are  made  up  of  definite  selling 
appeals,  setting  forth  the  merits  of  the  commodity  or  service 
advertised,  and  giving  the  reasons,  sometimes  real  and 
sometimes  imaginary,  why  it  will  be  to  the  advantage  of 
the  reader  to  do  business  with  the  advertiser. 

Modern  merchandising,  however,  is  complex  and  many- 
sided.  It  is  not  quite  so  simple  as  A  B  C,  or  rolling  off  a 
log,  and  out  of  its  complexity  have  grown  many  conditions 
which  are  not  met  adequately  by  the  ordinary  forms  of 
advertising. 

IMPORTANCE  OF  "GOOD  WILL" 

A  jobber  sells  a  line  of  staple  articles.  He  has  no  dem- 
onstrable advantages  over  his  competitors.  His  merchan- 
dise is  not  of  better  quality  than  theirs,  nor  is  it  sold  at  more 
attractive  prices.  His  customers  buy  from  him  largely  on 
personal  grounds.  Instead  of  liking  his  goods  better  than 
they  like  competing  goods,  they  like  HIM  better,  or  they 
like  his  representatives  better;  it  comes  to  the  same  thing. 

If  such  a  jobber  has  a  small  number  of  customers,  he 
may  retain  their  good  will  by  making  frequent  calls.  If  he 
has  a  large  number  of  customers,  or  wishes  to  get  more 
than  his  share  of  the  total  business  in  his  line,  some  other 
method  of  creating  and  maintaining  good  will  must  be 
devised. 

"TAKING  THE  FACTORY  TO  THE 

CUSTOMER" 

A  manufacturer  of  motor  cars  finds  that  he  never  loses 
a  sale  when  he  has  an  opportunity  to  take  prospective  cus- 
tomers through  his  factory.  This  suggests  the  advisability 
of  takmg  the  factory  to  prospective  purchasers.  How  shall 
this  be  done? 

Another  manufacturer  has  a  large  number  of  salesmen, 
and  it  is  necessary  to  keep  them  fully  informed  as  to  the 
progress  of  the  business,  telling  them  what  the  organiza- 


122 


V 


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OF        DIRECT        ADVERTISING 

tion  as  a  whole  is  doing,  what  competitors  are  doing,  etc. 
The  problem  is  to  find  the  most  effective  method  of  dissem- 
inating this  information  periodically. 

WHAT  IS  A  HOUSE  ORGAN  ? 

A  House  Organ  is  a  periodical  publication,  usually  in 
booklet  or  pamphlet  form,  issued  by  an  advertiser  for  the 
purpose  of  disseminating  information  and  suggestions  that 
will  influence  sales,  but  which  for  one  reason  or  another 
can  not  be  included  advantageously  in  advertisements  in 
other  forms. 

"  There  is  nothing  like  a  House  Organ,"  says  Frederick 
C.  Kuhn,  editor  of  magazines  for  Sherwin-Williams  Com- 
pany, Cleveland,  "  for  kindling  that  spirit  of  sincere  business 
friendship  which  is  so  essential  to  mutually  profitable  trade 
relations.  Especially  is  this  true  with  the  smaller  dealers 
scattered  in  remote  corners  away  from  the  busy  city.  The 
salesman  may  make  a  brief  visit  now  and  then,  seeking  an 
order;  occasionally  a  letter  is  written  soliciting  trade  for 
a  new  product;  but  the  House  Organ  brings  with  it  news 
of  the  activities  of  merchants  in  similar  business,  sales  and 
merchandising  plans,  suggestions  for  getting  and  retaining 
new  customers,  advertising  hints,  and  is  brimful  of  real 
human-interest  copy." 

Sometimes  the  House  Organ  is  made  up  entirely  of 
"  news "  having  reference  to  the  advertiser's  business ; 
sometimes  it  is  made  up  partly  of  extraneous  matter ;  occa- 
sionally the  extraneous  matter  comprises  the  bulk  of  the 
publication  and  the  "  advertising  "  is  incidental. 


MAKING  THE  HOUSE  ORGAN 
INTERESTING 

The  essential  thing  in  publishing  a  House  Organ  is  to 
make  it  so  interesting  that  the  people  to  whom  it  is  sent 
will  look  forward  to  it  from  month  to  month,  and  if  the 
advertiser  can  find  little  or  nothing  of  interest  to  say  about 
his  own  business  or  products,  the  necessary  interest-sustain- 
ing material  must  be  secured  from  other  sources.     Most 

123 


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I 

'1 


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'  t. 


PRINCIPLES       AND       PRACT  ICE 

products  can  be  made  interesting,  however,  at  least  to  peo- 
ple who  are  in  a  position  to  buy  or  use  them,  and  it  is  well 
to  make  sure  your  business  is  an  exception,  before  filling 
your  House  Organ  with  material  that  is  devoid  of  specific 
advertismg  value. 


(( 


HIGH  MORTALITY ''  AMONG  HOUSE 
ORGANS  — AND  ITS  LESSON 

The  most  significant  thing  about  the  House  Organ  as 
an  advertising  medium  is  what  "Printers*  Ink"  has  de- 
scribed as  the  "high  mortality"  among  house  organs  — 
meaning  that  few  of  them  are  kept  up  out  of  the  total  num- 
ber started. 

The  reason  for  this  is  that  it  is  mighty  easy  to  start  a 
house  organ,  but  mighty  hard  to  keep  it  going  after  the  first 
two  or  three  numbers,  unless  the  advertiser  has  started  with 
a  very  definite  idea  of  what  he  proposes  to  do  and  exactly 
how  he  proposes  to  do  it. 

Many  an  advertiser  has  put  into  the  first  number  of  his 
house  organ  all  of  the  material  that  he  had  been  accumu- 
latmg  for  months  or  years,  only  to  find  that  material  for 
succeeding  numbers  was  not  easily  procurable. 

Don't  get  out  a  house  organ  unless  you  need  it.  Have 
a  definite  purpose  in  view.  Don't  get  out  the  first  number, 
even  then,  unless  you  know  where  the  material  for  the  others 
is  coming  from. 

REGULARITY  is  essential  in  publishing  a  house 
organ.    "  Now  and  then  "  are  not  good  publication  dates. 

SYNDICATE  HOUSE  ORGANS.—  There  are  several 
concerns  who  make  a  business  of  printing  house  organs, 
supplymg  part  or  all  of  the  reading-matter,  according  to  the 
requirements  of  the  advertiser. 

BOOKS  ABOUT  HOUSE  ORGANS.- There  arc  ex- 
cellent  books  on  the  market,  giving  full  information  about 
every  phase  of  the  preparation  and  distribution  of  house 
organs,  and  these  can  be  consulted  advantageously  by  any 
advertiser  who  is  seriously  interested  in  this  form  of  Direct 
Advertising. 

i«4 


OF       DIRECT       ADVERTISING 


FOLDERS  AND  BROADSIDES 

The  flexibility  of  Direct  Advertising  (as  compared  with 
announcements  in  periodicals)  has  already  been  touched 
upon,  in  a  previous  section  of  this  book.  It  has  been  pointed 
out  that  the  Direct  Advertiser  is  unhampered  by  many  of 
the  restrictions  that  are  inseparable  from  General  Advertis- 
ing. The  size,  shape,  color,  character,  quantity  and  distribu- 
tion of  his  advertisements  are  all  within  his  own  control. 

Some  kinds  of  Direct  Advertising,  however,  are  more 
flexible  than  others,  more  easily  and  exactly  adaptable  to 
the  advertiser's  individual  requirements,  and  it  is  in  Folders 
and  Broadsides  —  which  latter  are  simply  large  folders  — 
that  this  desirable  quality  finds  fullest  expression. 

In  getting  out  Booklets,  Catalogues,  Letters,  there  are 
certain  conventions  as  to  size  and  arrangement  that  must 
be  observed  —  certain  restrictions  that  are  imposed  by  the 
forms  themselves.  In  getting  out  folders  no  such  restric- 
tions or  conventions  are  encountered.  Folders  or  Broad- 
sides may  be  of  any  size  that  the  recipient  can  conveniently 
handle  and  read,  and  they  may  be  arranged  and  printed  and 
folded  in  any  manner  that  seems  best  to  serve  the  purpose 
of  the  advertiser. 


LARGE  SIZES  MAKE  BETTER  DEMON- 
STRATIONS POSSIBLE 

Large  folders  obviously  are  more  impressive  than  small 
ones,  but  this  is  by  no  means  the  only  reason  —  very  often 
it  is  not  at  all  a  conclusive  reason  —  for  using  them.  Mere 
bigness,  of  itself,  does  not  sell  goods.  The  reason  why  big 
folders  in  many  cases  have  vastly  greater  selling  power  than 
smaller  ones,  is  because  they  permit  picture  demonstrations 
and  displays  that  otherwise  would  be  out  of  the  question. 

In  many  catalogues  and  booklets,  for  example,  the  larg- 
est illustration  that  can  be  printed  on  a  page  —  or  even  on  a 

125 


T-^ 


PRIN  C  IPLES      AND       PRACTICE 


f 


t , 


"  The  world's  greatest  medium  for  Direct  Advertising."    All  of  the 
above  folders  were  printed  on  BUCKEYE  COVERS. 

126 


OF       DIRECT       ADVERTISING 

"  center  spread  "  —  is  too  small  to  show  all  of  the  important 
details  of  the  article  to  advantage,  and  separate  pictures  of 
these  must  be  printed  on  other  pages. 

In  large  folders,  a  much  wider  range  of  articles  can  be 
displayed  adequately  in  single  illustrations.  Where  this  is 
not  possible  —  where  for  one  reason  or  another  certain 
details  must  be  shown  separately,  the  article  may  still  be 
demonstrated  more  clearly  and  strikingly  in  a  large  folder 
by  grouping  several  of  the  detail  illustrations  around  a  larger 
one  of  the  complete  article,  and  running  an  arrow  or  con- 
necting line  from  each  of  the  small  illustrations  to  the  corre- 
sponding part  on  the  large  one. 


HOW  SMALL  FOLDERS  CUT  SELLING 

COSTS 

The  argument  in  favor  of  using  large  folders  (when 
conditions  require  them)  should  not  be  interpreted  as  ^n 
argument  against  using  small  ones.  Because  a  large  folder 
happens  to  derive  most  of  its  effectiveness  from  its  size,  it 
does  not  necessarily  follow  that  smaller  folders  are  ineffec- 
tive. Large  folders  meet  certain  advertising  requirements 
better  than  they  are  met  by  any  other  advertising  mediimi. 
Small  and  moderate-sized  folders  meet  other  requirements 
equally  as  well. 

In  one  respect  the  small  folder  is  the  most  effective  of 
all  Direct  Advertising  forms  —  it  can  be  made  to  carry  your 
selling  story  to  a  given  number  of  "  prospects  "  at  a  cost  so 
low  that  the  postage  alone  will  represent  70  or  75  per  cent, 
or  even  in  extreme  cases  a  larger  percentage,  of  the  total 
expenditure.  This  obviously  would  not  be  true  of  a  small 
edition.  To  be  produced  so  cheaply,  the  folders  would  have 
to  be  ordered  in  considerable  quantities. 

It  is  not  often  necessary,  however,  nor  is  it  often  advis- 
able, to  attempt  to  get  out  folders  so  cheaply.    Appearance 

127 


^n 


§1 


:l 


m 


PRINCIPLES       AND       PRACT  ICE 

is  an  important  factor  in  determining  the  ratio  between  the 
cost  of  a  folder  and  the  money  it  brings  in.  and  appearance 
has  to  be  paid  for. 


Strong  poster  treatment  of  display  lines,  especially  suitable  for 
colored  folders.  Original  in  dark  blue  and  black  on  scarlet  BUCKEYE 
COVER. 


DESIGN  AND  ARRANGEMENT  OF 

FOLDERS 

SIZE. —  This  should  be  determined  with  reference  to 
the  size  of  the  largest  illustration  it  is  proposed  to  show, 
the  grouping  of  other  illustrations  in  connection  with  it, 
the  amount  of  text  matter  that  is  to  be  printed,  and  the  size 
and  shape  that  the  folder  will  be  when  ready  to  mail.  If 
this  last  point  is  not  given  due  consideration  in  determining 
the  size  of  the  sheet,  it  may  be  found  that  it  can  not  be 
folded  handily  without  producing  a  clumsy  "  piece  "  of  mail 
matter. 

128 


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OF       DIRECT       ADVERTISING 

METHOD  OF  FOLDING.— This  should  be  decided 
upon  BEFORE  the  layout  for  the  folder  is  made,  so  that  the 
printing  of  type  or  illustrations  on  or  across  the  folds  may 
be  avoided,  so  far  as  is  practicable.  This  applies  particu- 
larly to  small  type  and  illustrations,  which  will  be  more 
attractive  and  readable  if  arranged  in  columns  or  sections 
between  the  folds. 

ARRANGEMENT  OF  TEXT.— When  laying  out  a 
large  folder  containing  considerable  reading  matter,  bear  in 
mind  that  only  very  large  type  can  be  read  easily  if  set  in 
unbroken  lines  across  the  full  width  of  a  wide  page.  The 
smaller  sizes  of  type,  say  from  eighteen-point  down,  should 
be  set  in  columns  with  plenty  of  white  space  between,  the 
width  of  the  columns  being  proportioned  to  the  size  of  the 
type.  Your  printer  or  the  editor  of  any  printing- trade  jour- 
nal can  give  you  helpful  advice  on  this  point  if  you  should 
be  in  need  of  it. 

THE  COVER-DESIGN.— Everything  that  has  been 
set  forth  concerning  the  importance  of  cover-designs,  in 
the  section  of  this  book  devoted  to  Catalogues  and  Booklets, 
applies  with  equal  force  to  folders.  The  folder,  like  the 
booklet,  should  carry  a  picture  or  legend  designed  to  attract 
the  attention  and  stimulate  the  interest  of  the  man  or 
woman  to  whom  the  folder  is  sent.  The  reason  so  many 
advertisers  neglect  this,  in  all  probability,  is  because  they 
find  it  possible  to  display  their  advertisements  effectively 
on  one  side  of  a  sheet  of  paper,  and  they  are  then  reluctant 
to  pay  for  additional  presswork  (where  required)  merely 
for  the  sake  of  displaying  a  small  design  on  the  outside  of 
the  folder.  Any  advertiser,  however,  who  will  examine 
critically  the  folders  that  reach  his  desk,  will  scarcely  be 
able  to  avoid  the  conviction  that  it  pays  to  print  folders  on 
both  sides,  even  if  one  side  carries  nothing  but  the  '*  cover- 
design." 

COMBINED  COVER -DESIGN  AND  ADDRESS 
LABEL. —  In  the  case  of  a  very  large  folder  intended  to  be 
printed  on  one  side  of  the  sheet  only,  and  where  to  print  a 

129 


PRINCIPLES       AND       PRACTICE 


OF       DIRECT       ADVERTISING 


11 


I 


"  cover-design  "  on  the  other  side  would  be  unduly  expen- 
sive, approximately  the  same  result  can  be  achieved  by 
printing  the  design  on  gummed  paper,  and  using  the 
gummed  sheets  as  address  labels. 

RETURN  POST  CARDS 

Return  post  cards  are  sent  out  with  Catalogues,  Book- 
lets, Folders,  etc.,  for  the  convenience  of  the  recipient  in 
responding,  the  object  of  the  advertiser  being,  of  course,  to 
increase  the  number  of  responses. 

Where  the  prospect  is  asked  to  fill  out  and  mail  the  card 
as  a  favor  to  the  advertiser,  the  card  should  be  stamped  by 
the  advertiser.  Some  advertisers  believe  in  stamping  the 
cards  even  where  no  such  favor  is  involved,  but  this  seems 
to  be  contrary  to  the  practice  of  the  majority.  There  is  no 
reason  why  a  man  should  be  bribed  to  respond  to  an  adver- 
tisement when  presumably  he  is  acting  in  his  own  interest, 
and  so  far  as  business  houses  are  concerned,  it  is  not  likely 
that  a  stamped  card  would  be  used  any  more  readily  than  an 
unstamped  one.  A  stamped  card  would  undoubtedly  stand 
a  better  chance  of  being  returned  from  the  average  resi- 
dence, however,  since  people  do  not  always  keep  stamps  on 
hand  in  their  homes. 

GOVERNMENT  POST  CARDS  are  furnished  to 
advertisers  in  sheets,  where  required,  each  original  sheet 
containing  48  cards.  These  sheets  the  printer  can  cut  up 
into  smaller  sheets  of  4,  8,  12,  etc.,  printing  each  sheet  from 
duplicate  plates  at  one  impression,  thus  effecting  a  substan- 
tial saving  in  presswork  where  a  large  number  of  cards  is 
required.  Post  cards  in  sheets  should  be  ordered  in  advance, 
as  the  local  postoffice  m.ay  not  have  them  in  stock. 


,\ 


130 


ENVELOPE  STUFFERS 

The  unlovely  phrase  at  the  head  of  this  chapter  is  the 
accepted  designation  of  a  form  of  advertising  that  is  deserv- 
ing, not  only  of  a  more  appropriate  name,  but  also  of  much 
more  serious  and  systematic  attention  than  it  ordinarily 
receives. 

The  use  of  envelope  stuffers  is  extensive,  but  it  is  almost 
equally  desultory.  They  are  gotten  out  on  impulse,  and 
mailed  whenever  the  mailing  department  happens  to  think 
of  it.  They  are  rarely  made  an  integral  part  of  an  adver- 
tising campaign,  and  it  is  still  more  rare  that  any  attempt 
is  made  to  gauge  their  effectiveness. 

There  are  two  circumstances  which  recommend  the 
envelope  stuffer  to  the  more  careful  consideration  of  every 
progressive  merchant,  manufacturer  and  advertising  man: 

(1)  Every  piece  of  first  and  third  class  mail  matter  that 
goes  out,  weighing  less  than  the  full  number  of  ounces  for 
which  postage  has  been  affixed,  represents  a  neglected 
opportunity  to  get  additional  advertising  matter  carried 
FREE. 

(2)  Many  printing  jobs,  as  ordinarily  contracted  for, 
represent  neglected  opportunities  to  get  this  additional 
advertising  matter  MANUFACTURED  free,  or  nearly  free. 


GETTING  "  ALMOST  FREE  " 
ADVERTISING 

The  envelope  stuffer,  in  other  words,  costs  nothing  to 
mail,  and  it  costs  next  to  nothing  to  manufacture,  if  proper 
advantage  is  taken  of  the  occasional  opportunities  that  arise 
in  connection  with  various  forms  of  printing. 

On  another  page  of  this  book  will  be  found  an  illustra- 
tion showing  how  an  envelope  stuffer  or  small  folder  may 
be  printed  as  part  of  a  booklet  cover,  on  stock  that  would 
otherwise  be  wasted. 

131 


rff 


w 


t 


PRINCIPLES      AND      PRA  C  T  I  C  E 

It  is  obvious  that  the  same  principle  can  be  applied  in 
many  ways,  and  it  is  equally  obvious  that  the  stuffer  need 
not  always  be  printed  on  "  stock  that  would  otherwise  be 
wasted.** 


UTILIZING  "WASTE"  PRESSWORK 

The  presswork,  in  fact,  represents  a  greater  saving  than 
the  stock,  and  for  this  reason  it  will  be  found  profitable  to 
order  the  additional  small  amount  of  stock  needed,  when- 
ever you  have  a  job  going  through  of  such  size  and  char- 
acter that  a  suitable  stuffer  can  be  printed  at  the  same  time, 
without  increasing  the  presswork. 

It  is  of  course  necessary  to  take  paper  sizes  into  consid- 
eration, as  printed  forms  are  planned  to  cut  out  "even** 
\yherever  possible,  and  under  such  circumstances  the  addi- 
tion of  a  stuffer  would  necessitate  the  use  of  a  larger  size 
of  paper,  which  might  or  might  not  be  practicable. 

Booklet  and  catalogue  covers,  folders,  letter  and  bill 
heads,  statements,  price-lists,  discount  sheets  —  these  and 
many  other  office  forms  may  be  made  to  yield  envelope 
stuffers  as  a  by-product,  simply  by  the  exercise  of  a  little 
ingenuity. 


The  best  method  of  utilizing  this  suggestion  is  to  plan 
a  series  of  stuffers  in  advance,  writing  the  copy  and  having 
the  illustrations  made,  if  illustrations  are  to  be  included,  so 
that  you  will  always  be  prepared  to  take  prompt  advantage 
of  any  *'  stuffer  opportunities  **  that  may  present  themselves 
in  connection  with  your  printing. 


IMPORTANCE  OF  PROPER 
DISTRIBUTION 

You  will  also  find  it  profitable  to  give  careful  thought 
and  attention  to  the  DISTRIBUTION  of  your  envelope 
stuffers.     It  is  not  enough  merely  to  get  rid  of  them.     They 

132 


OF       DIRECT       ADVERTISING 

should  be  sent  out  systematically.  If  you  have  a  series  of 
them,  it  is  important  to  know  that  each  customer  receives 
the  series  in  proper  order,  not  several  copies  of  the  same 
stuffer. 

The  cheapness  of  this  form  of  advertising  is  no  excuse 
for  sending  it  out  in  a  slipshod,  hit-or-miss  manner.  Envel- 
ope stuffers  are  less  impressive  and  less  important  than 
your  large  circulars  and  booklets,  but  this  is  offset  to  some 
extent  by  the  fact  that  many  of  them  go  out  under  first-class 
postage.  They  get  preferred  attention  as  compared  with 
other  forms  of  printed  matter,  and  if  properly  designed  and 
distributed  they  can  be  depended  upon  to  produce  substan- 
tial results. 

The  foregoing  suggestions  are  equally  applicable  to 
many  other  small  advertising  and  office  forms.  Mailing 
Cards,  Postal  Cards,  Package  Inserts,  Direction  Slips, 
Labels,  Stock  and  Work  Tickets,  Time  Slips,  are  examples. 

TALK  IT  OVER  WITH  YOUR  PRINTER 

Make  a  practice  of  taking  the  question  up  with  your 
printer  when  placing  orders  or  discussing  specifications. 
Find  out  whether  there  will  be  any  waste  stock,  and,  if  so, 
whether  it  can  be  printed  before  being  trimmed  off,  without 
necessitating  additional  presswork.  If  there  will  be  no 
waste,  how  about  the  possibility  of  ADDING  one  of  these 
small  forms  to  the  original  job,  printing  the  two  together 
on  a  single  sheet  at  the  same  impression,  and  then  cutting 
them  apart? 

By  asking  these  questions,  whenever  there  seems  to  be 
any  use  of  asking  them,  you  will  be  able  to  take  advantage 
of  many  money-saving  and  business-building  opportunities 
which  might  otherwise  be  overlooked. 


133 


m 


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!«f 


If 


■       I 


PRINCIPLES      AND      PRACTICE 


MAILING  CARDS 

Mailing  Cards  are  simply  advertisements  printed  on 
paper  or  cardboard  thick  enough  to  enable  them  to  be 
mailed  flat,  without  folding. 

The  Postoffice  Department  does  not  publish  (so  far  as 
we  know)  any  restrictions  as  to  their  size,  but  it  is  of 
course  obvious  that  a  very  large  mailing  card  would  be  less 
effective  than  a  folder  the  same  size,  besides  being  much 
more  liable  to  breakage  during  transportation. 

Mailing  Cards  as  large  as  10  by  12  inches  are  not  often 
seen;  7  by  10  or  7  by  11  inches  is  a  much  more  practical 
size.  This  is  about  as  large  a  card  as  can  be  mailed  with 
any  reasonable  degree  of  assurance  that  it  will  be  delivered 
flat  and  unbroken. 

Like  folders,  mailing  cards  may  be  printed  either  on  one 
side  or  on  both.    Usually  they  are  printed  on  one  side  only. 

Mailing  Cards  are  not  suitable  for  soliciting  mail  orders. 
They  are  used  to  best  advantage  where  it  is  not  the  purpose 
of  the  advertising  to  induce  prospects  to  take  immediate 
action,  as  in  "  paving  the  way  "  for  salesmen's  calls. 


POST  CARDS 

If  Mailing  Cards  are  made  not  larger  than  3  9-16  by 
5  9-16  inches,  nor  smaller  than  2^  by  4  inches,  and  divided 
on  one  side  by  a  vertical  line  down  the  middle,  WRITING 
may  be  placed  in  the  space  to  the  left  of  the  vertical  line 
(the  right-hand  space  being  reserved  for  address  and  stamp) 
without  affecting  the  classification  of  the  cards  as  third 
class  matter.  Such  Mailing  Cards  are  designated  by  the 
Postoffice  Department  as  "  Post  Cards,"  and  it  is  customary 
to  print  this  designation  on  them.  It  is  not  advisable  to 
order  a  large  quantity  of  "  Post  Cards  "  without  having  a 
sample  O.  K.*d  by  your  postmaster. 


134 


OF       DIRECT       ADVERTISING 


V 


On  the  follo\ving 
pages  a  number  of 
novel  and  effective 
Direct  Advertising 
forms  are  pictured 
and  described. 


I3S 


PRINCIPLES   AND   PRACTICE 


BROADSIDE  FOLDER  "WITH 
RETURN  POSTAL 

(See  illustration  on  opposite  page.) 

Your  proposition  may  not  warrant  the  running  of  a 
page  advertisement  in  a  large  newspaper,  but  you  can  read- 
ily place  an  advertisement  of  the  same  size  before  all  the 
people  on  your  mailing  list  by  utilizing  the  folder  form  here 
illustrated. 

A  full  sheet  of  BUCKEYE  COVER,  even  the  smaller 
size,  takes  an  advertisement  the  size  of  the  average  news- 
paper page,  and  large  newspapers  have  themselves  utilized 
this  fact  by  reproducing  page  advertisements  on  BUCK- 
EYE COVER  folders  for  mailing  to  their  prospective  cus- 
tomers. 

Where  the  mailing  list  is  large  enough  to  warrant  a 
reasonable  allowance  for  drawings,  engravings  and  type- 
setting, a  folder  such  as  this  is  probably  more  effective,  in 
proportion  to  its  cost,  than  any  other  form  of  Direct  Adver- 
tisement. If  used  on  a  small  list,  the  cost  per  name  would 
be  high. 

The  bottom  fold,  as  illustrated,  with  slot  for  a  return 
card,  is,  of  course,  optional,  as  also  is  the  method  of  folding 
the  sheet.  A  number  of  different  methods,  each  requiring 
a  different  arrangement  of  the  text  and  illustrations  (if  any) 
on  the  other  side  of  the  folder,  will  readily  suggest  them- 
selves when  the  dummy  is  being  experimented  with. 

In  spite  of  its  size,  this  folder,  made  of  one  of  the  lighter 
weights  of  BUCKEYE  COVER,  or  other  stock  of  similar 
weight,  may  be  mailed  for  1  cent. 


136 


OF       DIRECT       ADVERTISING 


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Folder  made  of  full  sheet  of  BUCKEYE  COVER,  either  20  by  25  or 
22  by  28j/$  inches.  Reply  post  card  inserted  in  slot.  Can  be  mailed  for 
I  cent 


INTENTIONAL  SECOND  EXPOSURE 


PRINCIPLES       AND       PRACTICE 


BROADSIDE  FOLDER  AA/'ITH 
RETURN  POSTAL 

(See  illustration  on  opposite  page.) 

Your  proposition  may  not  warrant  the  running  of  a 
page  advertisement  in  a  large  newspaper,  but  you  can  read- 
ily place  an  advertisement  of  the  same  size  before  all  the 
people  on  your  mailing  list  by  utilizing  the  folder  form  here 
illustrated. 

A  full  sheet  of  BUCKEYE  COVER,  even  the  smaller 
size,  takes  an  advertisement  the  size  of  the  average  news- 
paper page,  and  large  newspapers  have  themselves  utilized 
this  fact  by  reproducing  page  advertisements  on  BUCK- 
EYE COVER  folders  for  mailing  to  their  prospective  cus- 
tomers. 

Where  the  mailing  list  is  large  enough  to  warrant  a 
reasonable  allowance  for  drawings,  engravings  and  type- 
setting, a  folder  such  as  this  is  probably  more  effective,  in 
proportion  to  its  cost,  than  any  other  form  of  Direct  Adver- 
tisement. If  used  on  a  small  list,  the  cost  per  name  would 
be  high. 

The  bottom  fold,  as  illustrated,  with  slot  for  a  return 
card,  is,  of  course,  optional,  as  also  is  the  method  of  folding 
the  sheet.  A  number  of  different  methods,  each  requiring 
a  different  arrangement  of  the  text  and  illustrations  (if  any) 
on  the  other  side  of  the  folder,  will  readily  suggest  them- 
selves when  the  dummy  is  being  experimented  with. 

In  spite  of  its  size,  this  folder,  made  of  one  of  the  lighter 
weights  of  BUCKEYE  COVER,  or  other  stock  of  similar 
weight,  may  be  mailed  for  1  cent. 


136 


OF        DIRECT        ADVERTISING 


SyCKEYE 


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Folder  made  of  full  sheet  of  BUCKEYE  COVER,  either  20  by  25  or 
22  by  28^  inches.  Reply  post  card  inserted  in  slot.  Can  be  mailed  for 
I  cent 


PRINCIPLES      AND      PRACTICE 


BIG  MAILING  PIECES  FOR  LITTLE 

MAILING  LISTS 

An  advertiser  who  is  "  working  "  a  mailing  list  contain- 
ing many  thousands  of  names  —  say  from  ten  to  twenty- 
five  thousand  —  has  one  great  advantage  (among  others) 
over  the  advertiser  working  a  small  list. 

The  larger  list  makes  it  possible  to  use  expensive  draw- 
ings, engravings,  color  printing,  etc.,  and  so  to  achieve  a 
degree  of  effectiveness  that  would  be  out  of  the  question  if 
only  a  few  hundred  names  were  to  be  circularized. 

If  an  advertiser  proposes  mailing  a  circular  to  a  list  of 
twenty-five  thousand  names,  he  can  afford  to  spend  a  hun- 
dred dollars  for  engravings  almost  as  readily  as  fifty,  pro- 
vided the  extra  fifty  dollars  increases  the  effectiveness  of 
the  circular,  for  the  difference  is  only  a  fraction  of  a  cent 
per  name. 

Reduce  the  list  to  five  hundred  names,  however,  and  the 
"  difference  "  would  be  TEN  CENTS  per  name,  which  in 
many  cases  would  be  more  than  the  advertiser  could  afford 
to  spend  for  the  complete  circular. 

The  advertiser  circularizing  a  small  list,  as  a  rule,  can 
not  afford  to  get  out  Direct  Advertisements  that  entail  a 
high  initial  cost  for  drawings,  engravings,  typesetting,  press 
make-ready,  etc.,  yet  the  small  advertiser,  or  the  advertiser 
with  a  small  list,  wants  to  send  out  attractive  advertise- 
ments.   How  can  this  be  accomplished? 

One  method  of  getting  around  the  difficulty  is  shown  in 
the  accompanying  illustration. 

Here  the  problem  was  to  send  out  one  hundred  roto- 
gravure prints  (left  over  from  a  large  edition  used  for 
another  purpose)  to  a  select  list  of  customers.  A  selling 
talk  was  to  go  with  the  picture,  and  it  was  necessary  that 
the  advertisement  as  a  whole  be  attractive  and  impressive. 


138 


OF        DIRECT       ADVERTISING 


It  was  out  of  the  question  to  spend  money  for  art  work 
and  engravings  to  be  used  on  such  a  small  number  of 
copies,  and  even  to  set  the  advertisement  in  type  would 
have  been  expensive. 

The  advertisement  as  sent  out  was  nevertheless  both 
cheap  and  effective,  and  this  was  accomplished  by  the  sim- 
ple expedient  of  printing  the  argument  on  a  letter-head, 
tipping  the  letter  and  picture  onto  a  sheet  of  heavy  cover 
paper  as  shown,  folding  the  cover  paper  once  down  the 
middle,  printing  a  title  on  the  outside  at  a  cost  of  $1  for  the 
edition,  and  mailing  the  folder  flat  in  a  large  envelope. 


Background  represents  folder,  lAli  by  22  inches  or  11  by  1454  inches, 
folded,  made  of  double-thick  BUCKEYE  COVER.  Imitation  type- 
written letter  tipped  on  left-hand  page,  picture  tipped  on  right-hand 
page. 


139 


INTENTIONAL  SECOND  EXPOSURE 


»*,.«S«aiM^^:>'^- 


I 


PRINCIPLES      AND      PRACTICE 


BIG  MAILING  PIECES  FOR  LITTLE 

MAILING  LISTS 

An  advertiser  who  is  "  working  "  a  mailing  list  contain- 
ing many  thousands  of  names  —  say  from  ten  to  twenty- 
five  thousand  —  has  one  great  advantage  (among  others) 
over  the  advertiser  working  a  small  list. 

The  larger  list  makes  it  possible  to  use  expensive  draw- 
ings, engravings,  color  printing,  etc.,  and  so  to  achieve  a 
degree  of  effectiveness  that  would  be  out  of  the  question  if 
only  a  few  hundred  names  were  to  be  circularized. 

If  an  advertiser  proposes  mailing  a  circular  to  a  list  of 
twenty-five  thousand  names,  he  can  afford  to  spend  a  hun- 
dred dollars  for  engravings  almost  as  readily  as  fifty,  pro- 
vided the  extra  fifty  dollars  increases  the  effectiveness  of 
the  circular,  for  the  difference  is  only  a  fraction  of  a  cent 
per  name. 

Reduce  the  list  to  five  hundred  names,  however,  and  the 
"  difference  "  would  be  TEN  CENTS  per  name,  which  in 
many  cases  would  be  more  than  the  advertiser  could  afford 
to  spend  for  the  complete  circular. 

The  advertiser  circularizing  a  small  list,  as  a  rule,  can 
not  afford  to  get  out  Direct  Advertisements  that  entail  a 
high  initial  cost  for  drawings,  engravings,  typesetting,  press 
make-ready,  etc.,  yet  the  small  advertiser,  or  the  advertiser 
with  a  small  list,  wants  to  send  out  attractive  advertise- 
ments.   How  can  this  be  accomplished? 

One  method  of  getting  around  the  difficulty  is  shown  in 
the  accompanying  illustration. 

Here  the  problem  was  to  send  out  one  hundred  roto- 
gravure prints  (left  over  from  a  large  edition  used  for 
another  purpose)  to  a  select  list  of  customers.  A  selling 
talk  was  to  go  with  the  picture,  and  it  was  necessary  that 
the  advertisement  as  a  whole  be  attractive  and  impressive. 


138 


^^L  *  ^^ 


O  F 


DIRECT       ADVERTISING 


It  was  out  of  the  question  to  spend  money  for  art  work 
and  engravings  to  be  used  on  such  a  small  number  of 
copies,  and  even  to  set  the  advertisement  in  type  would 
have  been  expensive. 

The  advertisement  as  sent  out  was  nevertheless  both 
cheap  and  effective,  and  this  was  accomplished  by  the  sim- 
ple expedient  of  printing  the  argument  on  a  letter-head, 
tipping  the  letter  and  picture  onto  a  sheet  of  heavy  cover 
paper  as  shown,  folding  the  cover  paper  once  down  the 
middle,  printing  a  title  on  the  outside  at  a  cost  of  $1  for  the 
edition,  and  mailing  the  folder  flat  in  a  large  envelope. 


Background  represents  folder,  14^  by  22  inches  or  11  by  14^4  inches, 
folded,  made  of  double-thick  BUCKEYE  COVER.  Imitation  type- 
written letter  tipped  on  left-hand  page,  picture  tipped  on  right-hand 
page. 


139 


i'     \1 


PRINCIPLES      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


If  H^  1 


"BUTTERFLY"  FOLDER 

(Sec  illustration  on  opposite  page.) 

This  is  a  novelty  folder  that  is  comparatively  expensive 
to  manufacture,  and  that  is  not  to  be  recommended  for 
indiscriminate  use.  When  used  in  the  right  way  and  at  the 
right  time,  however,  it  makes  a  striking  and  effective  adver- 
tisement. 

The  essential  feature  of  the  folder  is  that  when  it  is 
opened,  a  folded-in  portion  of  the  sheet  springs  up,  project- 
ing above  the  body  of  the  folder,  and  calling  attention  to 
whatever  special  device  or  information  may  be  printed  on 
the  projection. 

A  very  small  folder  of  this  kind  has  been  used  effec- 
tively by  the  Underwood  Typewriter  Company,  and  a  very 
large  one,  measuring  ten  or  twelve  inches  square  when 
folded,  was  recently  gotten  out  by  a  Cleveland  printer  for 
a  large  manufacturing  concern,  the  projecting  fold  being 
used  to  call  attention  to  an  exclusive  feature  of  a  pump. 

The  white  lines  on  the  large  figure  shows  the  method 
of  folding  the  sheet  as  well  as  it  can  be  shown  in  an  illus- 
tration. Any  ingenious  printer  can  readily  work  out  the 
same  idea  in  other  forms. 

Stock    suggested:      BUCKEYE    COVER, 
any  finish,  20  x  25  —  65  and  22  x  28 J^  —  80. 


140 


,  i 


PRINCIPLES       AND 


PRACTICE 


OF       DIRECT       ADVERTISING 


**AUTO-LOCK"  FOLDER  W^ITH 
RETURN  CARD 

(See  illustration  on  opposite  page.) 

The  illustration  shows  a  novel  method  of  increasing  the 
effectiveness  of  a  common  form  of  folder  without  adding 
materially  to  its  cost. 

The  folder  consists  of  a  double  sheet,  printed  on  one  side 
only  and  folded  as  shown  in  the  upper  figure. 

The  "  lock  "  is  a  separate  strip  of  paper,  preferably  of 
another  color.  One  end  of  this  is  inserted  between  the 
open  ends  of  the  sheet  after  the  vertical  fold  has  been 
made;  and  the  other  end  is  tucked  in  (at  the  other  side  of 
the  folder)  after  the  two  horizontal  folds  have  been  made. 

To  open  the  folder,  it  is  only  necessary  to  pull  up  on 
one  end  of  the  locking  strip.  Until  this  strip  is  pulled,  how- 
ever, the  folder  remains  securely  locked,  no  clips  or  pasters 
being  necessary. 

The  separate  strip  carries  the  address  and  the  stamp, 
and  if  made  of  a  paper  the  color  of  which  contrasts  strongly 
with  the  color  of  the  folder,  the  effect  is  unusually  novel 
and  striking. 

The  return  card,  if  used,  is  inserted  in  slot  as  indicated. 
This  card  is,  of  course,  optional. 

Stock  suggested:  For  folder,  BUCKEYE 
COVER,  20x25  —  65  and  22x28^  —  80,  or 
20  X  25  —  80  and  22  x  2854  —  100. 

For  the  locking  strip,  BUCKEYE  COVER, 
20  X  25  —  80  and  22  x  2Sy2  —  100. 


142 


*% 


PRINCIPLES 


AND       PRACTICE 


OF       DIRECT       ADVERTISING 


if 


' , 


Ir  •  i' 


BLOTTER  CARRIER  WITH  ORDER 

BLANK  BLOTTER 

On  the  page  facing  this  are  shown  two  simple  and  prac- 
tical methods  of  increasing  the  advertising  efficiency  of  the 
blotter. 

The  first  concerns  the  method  of  sending  it  out,  and  is 
based  on  the  fact  that  in  many  cases  where  a  blotter  is 
otherwise  an  excellent  advertisement,  it  is  too  small  to 
carry  the  necessary  amount  of  selling  talk. 

Here  a  folder  is  utilized,  not  only  to  provide  additional 
space  for  the  display  of  the  advertiser's  message,  but  also 
to  provide  a  more  effective  vehicle  than  an  envelope  for 
carrying  the  blotter  under  one-cent  postage.  If  the  outside 
of  the  folder  is  attractively  printed,  it  will  make  a  dignified 
advertisement;  whereas  a  blotter  enclosed  in  an  ordinary 
envelope  simply  looks  like  a  cheap  circular. 

The  second  illustration  shows  a  method  of  still  further 
increasing  the  efficiency  of  the  blotter  by  including  an 
order  blank.  Sending  an  order  blank  out  in  this  way  means 
that  your  prospective  customer  will  have  it  constantly 
before  him,  as  long  as  he  keeps  the  blotter  on  his  desk. 

The  order  blank  may  be  wire  stapled  between  two 
pieces  of  blotting-paper,  or  between  a  blotter  and  a  piece 
of  cover-paper  carrying  your  advertisement. 

Stock  suggested :  For  "  Blotter  Carrier  " 
—  BUCKEYE  COVER,  20x25  —  65  and 
22x281^—80,  20x25  —  80  and  22x285^  — 
100.  or  Double  Thick.     Any  color  and  finish. 


u 


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i 


144 


PRINCIPLES 


AND      PRACTICE 


OF       DIRECT       ADVERTISING 


(( 


CATALOGUE"  LETTER-HEAD 

(See  illustration  on  opposite  page.) 

Many  firms  print  pictures  and  descriptions  on  the  backs 
of  their  letter-heads.  The  plan  is  objectionable  because 
only  the  printing  is  visible  when  the  letter  is  folded,  and  is 
the  first  thing  seen  when  it  is  taken  from  the  envelope. 

A  better  way,  and  one  coming  into  increasing  favor,  is 
to  use  a  four-page  sheet  with  the  letter  on  the  first  page, 
and  the  pictures  and  printing  on  the  inside  pages.  The 
last  page  is  left  blank,  and  the  letter  thus  looks  like  a  letter, 
and  not  like  a  circular,  when  the  recipient  gets  it  m  his 
hand. 

Catalogue  letter-heads  are  usually  produced  in  quanti- 
ties for  special  circularizations,  the  first  page  being  imita- 
tion-typewritten;  but  in  many  lines  it  is  also  a  good  plan 
to  stock  the  sheets  with  special  offerings  or  announcements 
printed  on  the  inside  pages,  and  use  the  first  page  for  regu- 
lar correspondence. 


N 


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146 


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1 1  ■• ' 


K. 


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PRINCIPLES      AND      PRACTICE 


THE  "OUTLOOK"  LETTER 
CIRCULAR 

(See  illustration  on  opposite  page.) 

An  exceedingly  novel  and  effective  method  of  combining 
a  letter  and  folder  for  mailing  under  1-cent  postage. 

The  letter,  imitation-typewritten  on  an  ordinary  letter- 
head, with  filled-in  salutation,  is  inserted  in  the  folder  in 
the  manner  illustrated,  the  folder  having  a  cut-out  aperture 
which  allows  the  salutation  of  the  letter  to  serve  as  the 
address. 

Because  of  its  novelty,  the  combination  is  a  great  deal 
more  interesting  and  attention-compelling  than  either  the 
letter  or  a  folder  of  the  same  size  would  be  if  mailed  sep- 
arately; while  the  cost  of  the  complete  piece,  if  BUCKEYE 
COVER  is  used  for  the  folder,  does  not  exceed  that  of  a 
letter  under  2-cent  postage. 

To  secure  maximum  effectiveness,  the  outside  of  the 
folder  should  carry  a  design  illustrating  or  suggesting  the 
product  or  business  advertised,  and  incorporating  a  panel 
for  the  address  aperture,  making  it  a  part  of  the  illustration. 

The  folder  should  be  the  same  width  as  the  letter-head 
to  be  used,  and  one-half  longer.  For  a  standard  8  x  11 
letter-head,  the  folder  will  be  8  x  lej/i  inches. 

No  special  dies  are  necessary  in  producing  this  piece. 
The  rectangular  opening  can  be  cut  with  ordinary  cutting 
rule  on  a  platen  printing-press. 

Stock  recommended:  For  the  folder, 
BUCKEYE  COVER,  basis  20  x  25  —  65 ; 
Plate  Finish  if  half-tones  are  to  be  printed ; 
otherwise  Antique  or  Ripple  or  Crash  Fin- 
ish. For  the  letter-head,  if  for  any  reason 
a  special  one  is  required.  Antique  Finish 
BUCKEYE  COVER,  basis  20  x  25  —  50, 
and  a  different  color  from  the  stock  used 
for  the  folder. 

T48 


OF       DIRECT       ADVERTISING 


PRINCIPLES       AND       PRACTICE 


I 


»! 


MAILING  SMALL  SAMPLES 

(Sec  illustration  on  opposite  page.) 

Occasionally  the  simplest  and  cheapest  article  of  its  kind 
is  the  best,  and  this  method  of  mailing  small  samples  is  as 
economical  as  it  is  effective. 

Mailed  in  this  way,  the  sample  is  brought  to  the  atten- 
tion of  the  prospect  at  the  exact  psychological  moment  — 
right  after  he  has  finished  reading  the  printed  story  that 
leads  up  to  it. 

The  argument  first,  then  the  PROOF,  all  in  one  mailing 
piece. 

Sampling  of  this  kind  is  much  more  effective  than  the 
ordinary  method,  and  many  firms  have  used  it  successfully 
who  were  unable  to  get  adequate  returns  sending  samples 
and  arguments  separately. 

The  size  and  shape  of  the  folder  make  no  particular  dif- 
ference. The  only  requirement  is  that  it  be  folded  at  the 
bottom  to  retain  the  sample,  and  then  folded  again  just 
above  the  sample. 

The  illustrations  were  made  with  the  clips  on  the  first 
fold,  because  that  was  the  only  way  the  position  of  the 
sample  could  be  shown,  but  it  is  better  to  put  the  clips  on 
after  the  SECOND  fold  has  been  made.  The  folds  fol- 
lowing the  first  two  can  be  of  any  desired  width,  without 
reference  to  the  size  of  the  sample. 

Folders  containing  samples  take  the  merchandise,  or 
parcel  post,  rate,  and  1  cent  postage  should  therefore  be 
affixed  for  every  ounce  or  fraction  thereof. 

Stock  suggested:  BUCKEYE  COVER, 
any  finish,  basis  20  x  25  —  80,  22  x  2S%  —  100, 
or  Double  Thick. 


ISO 


O  F       DIRECT       ADVERTISING 


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PRINCIPLES       AND       PRACTICE 


OF       DIRECT       ADVERT   I  S  I  N  G 


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THE  "OUTLOOK"  AUTOMATIC 
REPLY  FOLDER 

(See  illustration  on  opposite  page.) 

It  is  unfortunate  that  the  idea  of  including  a  signed 
postal  (signed  with  the  name  of  the  prospect)  in  a  piece 
of  circular  matter  has  been  promoted  imtil  it  has  become 
a  fad,  more  or  less  profitable  to  the  promoters,  but  not  so 
profitable,  in  many  cases,  to  the  advertiser. 

The  undue  emphasis  placed  on  this  feature  by  the  vari- 
ous concerns  exploiting  it  has  not  only  led  many  adver- 
tisers to  use  it  where  they  should  have  used  something 
else,  but  has  also  deterred  many  others  from  using  it  where 
it  would  have  been  exactly  the  right  thing. 

No  experienced  advertising  man  believes  or  will  admit 
that  making  it  easy  for  the  prospect  to  respond  is  the  whole 
end  and  aim  of  successful  direct  advertising.  Often  it  is 
more  profitable  to  make  sure  that  the  prospect  will  NOT 
respond,  unless  he  is  seriously  interested.  But  there  are, 
nevertheless,  many  legitimate  uses  for  the  "automatic 
reply"  featiu-e  in  circularizing,  and  the  illustrations  on 
the  three  following  pages  show  the  most  practicable  and 
satisfactory  methods  of  incorporating  it  in  attractive  and 
effective  folders  or  booklets. 

The  principle  in  all  of  these  is  the  same  —  the  filling  in 
of  the  prospect's  name  on  the  reply  postal,  and  the  inclu- 
sion of  the  postal  in  the  folder  in  such  a  manner  that  the 
filled-in  signature  of  the  prospect  will  serve  as  the  address 
when  the  folder  is  mailed  by  the  advertiser. 

These  folders  are  used  to  the  best  advantage,  usually, 
where  the  returned  postal  is  an  order  for  merchandise  (in 
which  case  the  prospect  should  be  required  to  pencil  his 
initials  beneath  the  typewritten  signature),  or  where  its 
return  can  .be  taken  as  evidence  that  he  has  a  real  interest 
in  the  advertiser's  goods  or  proposition. 

15a 


PRINCIPLES      AND       PRACTICE 


OF       DIRECT       ADVERTISING 


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PRINCIPLES 


AND       PRACTICE 


OF        DIRECT       ADVERTISING 


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CIRCULAR  LETTERS 

Circular  Letters,  also  called  "  Form  Letters  "  are  simply 
advertisements  in  letter  form,  which  are  sent  in  identical  or 
nearly  identical  terms  to  a  number  of  "  prospects." 

Such  letters  may  be  typewritten,  but  as  a  rule  they  are 
produced  by  a  mechanical  process  designed  to  imitate  real 
typewriting  as  closely  as  possible.  There  are  several  of 
these  "imitation  typewriting"  processes,  and  they  vary 
considerably  as  to  cost  and  quahty  of  work  produced,  but 
the  principle  of  all  is  the  same  — the  letters  are  printed 
from  type,  through  a  ribbon  of  silk  or  other  material,  which 
gives  the  text  the  "  fabric  "  appearance  that  is  characteristic 
of  real  typewriting. 

To  be  mailable  at  third-class  (printed  matter)  rates,  cir- 
cular letters  must  be  produced  by  a  mechanical  process 
other  than  typewriting,  and  must  be  mailed  twenty  or  more 
at  a  time.  Salutations  and  signatures  may  be  filled  in  by 
any  desired  method,  and  typographical  errors  may  be  cor- 
rected, but  the  letters  as  sent  out  must  all  read  exactly 
alike. 

PREPARATION  OF  CIRCULAR  LETTERS.— There 
are  several  books  on  the  market  which  deal  exclusively  with 
the  preparation  of  circular  and  form  letters,  and  it  would 
therefore  be  a  work  of  supererogation  to  attempt  to  illumi- 
nate the  subject  in  a  few  pages  of  the  present  volume.    Such 

books  are  quite  likely  to  be  somewhat  partisan,  however 

they  are  likely  to  emphasize  the  merits  of  Circular  Letters 
to  the  disadvantage  of  other  forms  of  Direct  Advertising  — 
and  it  rnay  therefore  serve  some  advertisers  to  point  out 
that  while  the  Circular  Letter  offers  an  exceedingly  eco- 
nomical method  of  circularizing  a  small  list  (say  a  thousand 
or  two),  it  is  often  unnecessarily  expensive  when  used  in 
connection  with  a  large  list. 

COST     OF    CIRCULAR    LETTERS.— See    "What 
Should  the  Pieces  Cost?"  on  page  27,  and  "Postage  on 
Circular  Letters  "  on  page  159  for  suggestions  as  to  the  cost 
of  Circular  Letters  compared  with  printed  circulars. 

156 


PRINTING  METHODS 

A  working  knowledge  of  ordinary  printing  methods  is 
a  necessary  part  of  the  equipment  of  the  advertising  man, 
and  of  the  advertiser  handling  his  own  work;  but  as  this 
can  be  obtained  readily  in  any  printing  establishment,  it 
hardly  calls  for  exposition  in  a  book  of  Direct  Advertising 
suggestions. 

There  are  other  printing  methods,  however,  which  are 
less  widely  used,  and  while  it  is  not  necessary  to  understand 
these  in  detail,  it  is  at  least  desirable  to  KNOW  about  them, 
and  to  recognize  their  possibilities. 

THE  RUBBER  OFFSET  PROCESS  is  the  most  impor- 
tant of  the  rivals  of  ordinary  printing,  and  both  its  popu- 
^  J  larity  and  utility  are  growing  steadily.  Rubber  offset 
printing  differs  from  ordinary  printing  in  several  particu- 
lars,^ but  principally  in  that  the  plate  carrying  the  designs 
and  \cxt  does  not  print  directly  on  the  paper.  It  prints  on 
a  rubber  roller,  and  the  rubber  roller  transfers  the  impres- 
sion to  the  paper. 

The  principal  advantage  of  this  process,  so  far  as  the 
advertiser  is  concerned,  lies  in  the  fact  that  it  offers  a  means 
of  printing  half-tones  on  antique-finished  and  other  rough 
papers.  The  process  can  also  be  utilized  in  the  production 
of  soft,  sketchy  color  effects,  such  as  are  hardly  obtainable 
by  any  other  method,  excepting  possibly  lithography,  and 
for  this  reason  it  is  used  extensively  for  printing  the  covers 
of  fine  catalogues  and  booklets. 

Rubber  offset  printing  can  not  be  done  from  ordinary 
cuts  and  type.  Special  plates  must  be  made  —  from  proofs 
of  type-matter,  and  from  drawings,  photographs,  etc.,  of 
pictures  and  designs. 

In  comparison  with  ordinary  printing,  rubber  offset 
printing  is  more  expensive  for  short  runs,  on  account  of  the 
cost  of  the  plates.  It  is  less  expensive  for  long  runs,  as  the 
work  is  done  much  more  rapidly.    (See  page  164.) 

157 


iii 


PRINCIPLES      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


LITHOGRAPHY  is  a  process  of  printing  from  specially 
prepared  stones  instead  of  from  metal  plates.  It  is  particu- 
larly adapted  to  the  reproduction  of  pictures  and  designs  in 
color  — such  as  those  seen  on  calendars,  hangers,  display 
cards,  etc.  In  Direct  Advertising  it  is  utilized  mainly  in 
prmtmg  multi-colored  catalogue  and  booklet  covers. 

EMBOSSING  is  a  process  of  producing  relief  effects  on 
paper  by  subjecting  it  to  mechanical  pressure  between  suit- 
able dies.  It  IS  used  principally  on  catalogue  and  booklet 
covers.  For  the  best  results  the  dies  must  be  heated,  and 
the  process  is  then  called  "  hot  embossing."  Covers  which 
are  embossed  vinthout  being  printed  are  called  "blind 
embossed." 

HOT  STAMPING  is  merely  a  form  of  hot  embossing, 
the  effect  of  which  is  to  "  iron  out "  an  antique  or  other 
rough-finished  paper,  producing  a  smooth  surface  on  which 
half-tones  or  other  plates  with  fine  detail  can  be  printed. 
The  stamped  or  ironed  portion  of  the  paper  is  usually  a 
rectangular  panel  or  other  geometrical  shape  that  is  to  carry 
an  il  ustration.  Sometimes  the  illustration  is  printed 
directly  m  the  panel ;  in  other  cases  it  may  be  printed  on  a 
separate  sheet  and  "  tipped  in." 


POSTAGE  ON  DIRECT  ADVERTISING 

According  to  postal  regulations  in  effect  at  the  time  this 
book  goes  to  press.  Direct  Advertising  (printed)  is  classified 
as  third-class  matter,  mailable  at  the  rate  of  one  cent  for 
each  two  ounces  or  fraction  thereof,  when  the  individual 
pieces  consist  of  less  than  twenty-four  pages.  Catalogues, 
Booklets  and  other  pieces  consisting  of  twenty-four  pages 
or  more,  are  classified  as  fourth-class  (parcel  post)  matter. 
If  they  weigh  eight  ounces  or  less,  they  take  a  special  rate 
of  one  cent  for  each  two  ounces,  regardless  of  distance.  If 
they  weigh  more  than  eight  ounces,  they  take  the  regular 
parcel  post  zone  rates. 

This  applies  to  Catalogues,  Booklets,  Folders,  Circulars, 
House  Organs,  Mailing  Cards,  and  all  other  forms  of  printed 
advertisements  which  are  not  sealed  against  inspection,  and 
which  do  not  contain  enclosures  requiring  a  higher  rate. 

If  first  or  parcel-post  matter  is  enclosed  with  a  piece  of 
third-class  matter,  the  entire  piece  takes  the  higher  rate, 
except  that  samples  of  merchandise  affixed  to  circulars  or 
other  printed  matter  do  not  affect  the  classification  of  such 
matter  as  third-class  mail  so  long  as  the  samples  occupy 
less  than  twenty  per  cent  of  the  superficial  area  of  the 
pieces  to  which  they  are  affixed.  When  twenty  per  cent, 
or  more  of  the  space  is  occupied,  the  circulars  or  other 
printed  matter  to  which  the  samples  are  affixed  arc  consid- 
ered parcel-post  mail,  and  postage  must  be  paid  at  the  rates 
set  forth  in  the  Parcel  Post  regulations. 


158 


MAILING  MERCHANDISE  SAMPLES 

This  ruling  also  applies  to  advertisements  which  arc 
printed  wholly  or  in  part  ON  THE  MATERIAL  ADVER- 
TISED, the  Postoffice  Department  having  ruled  that  the 
advertised  material  under  such  circumstances  becomes 
A  SAMPLE  OF  MERCHANDISE  if  it  comprises  20  per 
cent  or  more  of  the  superficial  area  of  the  advertisement. 
Under  this  ruling,  paper  sample-books  and  circulars  (which 

159 


PRINCIPL  ES      AND       PRACTICE 


OF        DIRECT        ADVERTISING 


i 


ir 


El 
f  ! 


latter  arc  usually  printed  entirely  on  the  paper  advertised) 
are  classified  as  parcel-post  matter,  regardless  of  their 
weight,  although  the  same  books  and  circulars,  made  of  the 
same  paper,  but  carrying  the  advertising  of  any  other  prod- 
uct, would  be  classified  as  set  forth  in  the  first  paragraph 
on  page  159.  f      &  -f" 

When  you  receive  samples  or  circular  matter  from  paper 
manufacturers  or  dealers,  therefore,  it  is  well  to  bear  in 
mmd  that  the  postage  on  such  pieces  is  often  double  what 
you  would  be  required  to  pay  if  you  were  mailing  similar 
pieces  carrying  your  own  advertisement. 

POSTAGE  ON  CIRCULAR  LETTERS 

Letters  arc  regarded  as  printed  matter,  mailable  at  third- 
class  rates,  if  produced  by  a  mechanical  process  other  than 

fnI?i7.?TV^''!^'  provided  twenty  or  more  letters  contain- 
ing identical  text  are  mailed  at  one  time. 

Individual  salutations  may  be  filled  in  with  a  typewriter 
the  letters  may  be  signed  with  pen  and  ink,  and  ty^ograS 
ical  errors  may  be  corrected  with  pen  or  pencil;  but  actual 
cnanges  in  the  text  which  would  make  INDIVIDUAL 
commumcations  of  the  letters  are  not  permissible.  What- 
ever corrections  are  made  must  be  the  same  in  every  letter. 
Otherwise  the  letter  would  be  classified  as  first-class  matter 
and  postage  at  the  rate  of  2  cents  per  ounce  would  have  to 

While  circular  letters  MAY  be  mailed  under  1-cent  post- 
oPthfsTri^^^^^^^^  "  "^'  ^^"^^^  ^^^^^^^^«  '-  '-^^  -^vanW 

The  use  of  l-cent  postage  indicates  unmistakably  that 
the  envelope  contains  a  circular,  not  a  personal  letter  and 
m  many  cases  this  is  fatal  to  success. 

The  common  or  garden  variety  of  circular  letter  in  an 
unsealed  1 -cent-stamped  envelope  is  probably  the  cheapest 

m^ni:^..'".^  ''T  i-P^^^^i-^^  of  all  Sie  DirLt  AdJerth^! 
ments  that  reach  the  average  business  office,  and  in  many 

i6o 


if  not  most  such  offices  they  receive  scant  attention,  or  no 
attention  at  all. 

Entirely  apart  from  the  question  of  cheapness,  more- 
over, there  are  certain  kinds  of  advertisements  which  can 
pretty  confidently  be  expected  NOT  to  receive  attention  if 
they  are  readily  identified  as  advertisements. 

Few  men,  for  instance,  buy  life  insurance  on  their  own 
initiative,  nor  do  they  willingly  read  life  insurance  liter- 
ature, and  it  would  therefore  be  a  sheer  waste  of  money  to 
mail  under  1-cent  postage  a  series  of  letters  the  purpose  of 
which  was  to  sell  life  insurance.  The  life  insurance  com- 
pany's card  on  one  corner  of  the  envelope,  together  with 
the  1-cent  stamp  on  the  other  corner,  would  identify  the 
enclosure  as  an  unwelcome  solicitation  to  the  man  receiving 
it,  and  it  simply  would  not  be  read. 


OVERCOMING  INDIFFERENCE 

To  overcome  this  indifference  or  hostility,  many  adver- 
tisers find  it  profitable  to  mail  circular  letters  in  sealed 
envelopes  under  first-class  postage.  This  insures  that  the 
envelopes  will  be  opened,  and  that  the  enclosed  advertise- 
ments will  be  judged  by  their  own  appearance  rather  than 
by  the  implication  of  cheapness  involved  in  the  use  of  1-cent 
postage. 

The  2-cent  stamped  circular  letter,  in  other  words,  gets 
a  chance  to  be  "  heard,"  which  is  all  that  any  advertisement 
can  claim.  Having  gained  an  audience  because  of  its 
appearance,  perhaps  by  masquerading  as  a  personal  com- 
munication, it  will  be  read  attentively  enough  if  the  intro- 
duction is  interesting. 

On  the  other  hand,  if  the  people  to  whom  a  circular  letter 
is  mailed  are  known  to  be  decidedly  interested  in  the  goods 
or  service  that  the  letter  offers,  very  often  nothing  whatever 
will  be  gained  by  using  first-class  postage. 

If  an  advertiser,  through  some  fortunate  combination  of 
circumstances,  were  in  a  position  to  offer  an  automobile 

i6i 


I 


PRINCIPLES      AND      PRACTICE 


OF        DIRECT 


ADVERTISING 


I 


tire  of  standard  make  at  half  the  regular  price,  the  mere 
name  and  price,  printed  on  the  outside  of  the  envelope, 
would  be  quite  sufficient  to  insure  the  advertisement  being 
read  by  the  automobile  owner. 


WHEN  TO  USE  ONE-CENT  STAMPS 

In  general  it  is  safe  to  conclude  that  a  circular  letter 
containing  a  strong  appeal  to  the  self-interest  of  the  recip- 
ient, assuming,  of  course,  that  the  substance  of  the  appeal 
is  set  forth  on  the  face  of  the  envelope,  will  "  pull "  approx- 
imately as  well  with  1-cent  postage  as  with  2-cent. 

Where  the  self-interest  appeal  is  absent,  or  is  not  obvi- 
ous, greater  returns  will  usually  be  obtained  by  using  2-cent 
postage.  ** 

Whether  the  increased  returns  from  the  use  of  2-cent 

postage  will  be  PROFITABLE  as  compared  with  1-cent 

postage  depends  somewhat  upon  the  nature  of  the  proposi- 

T\  1    '  '"^^^^^5^  <^°st  of  the  postage  may  more  than 

offset  the  increased  profit,  but  this  does  not  occur  often. 

Two  other  considerations  that  affect  the  determination 
of  the  proper  postage  for  a  circular  letter  are  the  standing 
of  the  advertiser  and  the  character  and  circumstances  of 
the  people  to  whom  the  advertising  is  mailed. 

PPF^T^'Tr^^'f  recognized  standing  may  occasionally  allow 
FKi^bTIGE  to  take  the  place  of  POSTAGE.  A  1-cent- 
stamped  circular  bearing  the  imprint  of  Marshall  Field  & 
Co.  could  very  reasonably  be  expected  to  command  atten- 
tion where  a  similar  circular  from  an  unknown  house  might 
be  thrown  into  the  waste-basket  unread. 

People  who  receive  comparatively  little  mail  matter  are 
Z^h  T^'V^^f^  to  read  and  respond  to  circulars,  and  are 
much  less  likely  to  be  influenced  by  their  postal  classifica- 
tion, than  are  people  who  receive  a  great  deal  of  mail. 


162 


\^ 


SEALING  THIRD-CLASS  MATTER 

The  rules  of  the  Postoffice  Department  provide  that 
advertising  matter  may  be  mailed  at  third-class  rates  only 
when  it  is  open  to  inspection. 

Sealing,  as  such,  is  not  prohibited,  except  when  it  inter- 
feres with  adequate  inspection. 

An  ordinary  envelope  may  not  be  sealed  (if  mailed  under 
third-class  postage),  because  it  would  be  manifestly  impos- 
sible for  a  postoffice  employee  to  examine  the  contents  with- 
out breaking  the  seal. 

A  circular  or  folder  carrying  its  own  address  may  be 
sealed,  even  if  it  can  not  be  unfolded  without  breaking  the 
seal,  provided  it  is  possible  for  a  postoffice  inspector,  by 
looking  in  at  the  ends  of  the  folder  or  otherwise,  to  satisfy 
himself  that  it  contains  no  writing  or  enclosures  which 
would  require  a  higher  classification. 


GET  THE  POSTMASTER'S  O.  K. 

No  hard  and  fast  rule  can  be  laid  down  that  will  apply 
to  all  cases.  Some  postoffice  officials  insist  upon  a  strict 
application  of  the  letter  of  the  law,  while  others  will  pass 
circulars  that  are  only  partially  open  to  inspection,  assum- 
ing that  the  hidden  parts  are  fairly  represented  by  the  vis- 
ible ones,  or  by  an  unsealed  sample  that  has  been  submitted. 
When  it  is  proposed  to  seal  any  kind  of  a  folder  or  circular, 
therefore,  it  is  important  to  get  the  O.  K.  of  the  local  post- 
office  officials  before  proceeding  with  the  work. 

Where  seals  can  be  used  without  affecting  the  postage, 
they  are  preferable  to  clips,  as  the  latter  are  apt  to  come  off 
in  the  mails.  Seals,  moreover,  give  the  pieces  to  which  they 
are  affixed  a  much  more  attractive  appearance. 

Advertising  matter  mailed  in  any  one  of  the  various 
forms  of  **  Pennysaver  **  envelopes  can  hardly  be  said  to  be 
sealed,  and  it  is  not  so  regarded  by  the  Postoffice  Depart- 
ment.    The  gummed  flap  which  is  characteristic  of  such 

163 


f  1' 


I.' 


PRINCIPLES      AND      P  R  A  r  T  T  r  i. 


PM  1 


»■ 


I 


Rubber  offset  printing  on  BUCKEYE  COVER*;     Th.   ,    i  - 
aally  adapted  to  the  process  and  is  widely  used  b^ff^^^ 

164 


Jf 


OF        D   IRECT       ADVERTISING 

envelopes  is  designed  to  make  the  envelope  APPEAR 
sealed,  but  it  is,  of  course,  open  to  inspection,  just  as  the 
ordinary  ungummed  envelope  is. 


METHODS  OF  PREPAYING 

POSTAGE 

Postage  on  Direct  Advertising  matter  may  be  prepaid 
by  any  one  of  four  methods : 

By  using  government-stamped  envelopes  or  wrap- 
By  affixing  ordinary  postage  stamps. 
By  affixing  PRECANCELED  postage  stamps. 
4.     By  mailing  under  a  "  Special  Permit." 

Stamped  envelopes  and  wrappers  are  used  by  many 
advertisers,  in  some  cases  because  of  their  convenience,  and 
in  others  because  it  is  thought  they  present  a  better  appear- 
ance than  ordinary  envelopes  and  wrappers  with  separate 
stamps.  Where  a  great  many  pieces  of  advertising  are  to 
be  mailed,  it  is  often  possible  to  save  considerable  handling 
by  using  stamped  envelopes  or  wrappers.  Your  postmaster 
can  furnish  you  with  a  printed  price-list. 


1. 

pers. 

2. 

3. 


ORDINARY  STAMPS 

Ordinary  postage  stamps,  like  the  popular  orator,  are  so 
well  known  as  to  need  neither  introduction  nor  recommenda- 
tion. They  are  the  method  of  postage  prepayment  that  you 
will  naturally  use,  unless  the  circumstances  seem  to  call 
strongly  for  one  of  the  others.  Not  all  advertisers  know 
that  stamps  can  be  bought  in  quantities  at  a  discount,  from 
stamp  brokers.    Make  a  note  of  it  if  it  is  news  to  you. 

165 


f 


OF       DIRECT       ADVERTISING 


PRECANCELED  STAMPS 

vJcntZ'i^ J^tt^^Sl  "^P'  "^-  P*'*'^P^  ^he  least  con- 
vement  pt  all  methods  of  prepay  ng  postaee      Onat-  th. 

precanceled  stamps  have  been  afKxed.  howevei-   the  nieces 

JS2v'are*m  J'^T""  °'  ''1^^.""^  '"  ^^e  postoffice  at  which 
Scked IhT^  f„  ^"''"^  ^*  '"  '  **  advertiser  has  sorted  and 
office?  anTthU  "*''*^^"'^  ^'*'*  instructions  from  the  post- 
omce;,  and  this  is  sometimes  a  decided  advantacr*.  ;,.  tt. 

rollle1sThtdL''^'°^=*'  °J  attractive 'cTalofue"  and 
being  torn  or  abraded  is  greatly  decreased  "*""' 

SPECIAL  PERMIT 

Mailing  under  a  "Special  Permit"  eliminates  the  handling 
of  postage  stamps  altogether,  no  stamps  being  require<f 
and  IS  the  cheapest  and  most  convenient  method  of  nre- 

fnTrle'Sthi'es  Th*''  "'''^''-  "P'"^"^  wh^fe  mailed 
in  large  quantities.    The  permit,  issued  by  the  oostmaster 

on  request,  allows  the  advertiser  to  printVYabel  oJT  each 


I 


2C.PAID 

CHICAGO,  ILL. 

I  Permit  No.  96 

stam;s''"Tt^  *°-*''*  °"*  --eproduced  here,  instead  of  affixing 
stamps.    The  pieces  are  then  counted  and  weiehed  at  th! 

fn  ca°sf  %Ws'm'::.'T""  °'  ^"'''^^  ^^'^  toThTpostmasfe 
m  cash.    This  method  is  not  recommended  for  Direct  ArlvlV 

"gTpne^Wrom  T  -^"^ --''^--''le  pord^n  o'tfr'sel  I 
mg  appeal  from   their  attractiveness.     It   is  not   easv  tn 

P^T^^^l ',  'I'^P  ^°°^^  "'"'^  °»  «  f°Wer  han  a  "  Ipecia^ 
Permit     labe  .  but  most  advertisers  are  agreed  that  it  do« 
Special  permits  are  not  issued  for  less  fhan  2 Joo  pieces 

i6r> 


,^ 


(( 


SAFE  AND  SANE"  TYPE-FACES 
FOR  DIRECT  ADVERTISING 

In  the  "  Typography  "  section  of  this  book,  there  have 
been  set  forth  some  objections  to  the  use  of  fancy  job 
types  in  Direct  Advertisements,  particularly  catalogues  and 
booklets.  This  naturally  raises  the  question  as  to  what  sort 
of  faces  CAN  be  used  advantageously.  On  the  several 
pages  that  follow,  the  question  is  answered. 

Here  are  shown  a  number  of  type-faces  which  are  first 
of  all  easy  to  read,  thus  fulfilling  the  most  important 
requirement  of  the  Direct  Advertiser,  and  which  at  the 
same  time  are  pleasing  to  the  eye,  whether  of  the  expert 
or  the  non-expert.  All  of  these  faces  have  received  the 
approval  of  the  more  progressive  printers  and  advertisers, 
and  each  one  of  them  has  been  recognized  as  a  distinct 
achievement  in  artistic  type-designing. 

The  showing  is  not  complete,  but  it  is  fairly  representa- 
tive of  the  work  of  the  foremost  typefounders,  and  includes 
faces  suitable  for  use  in  every  kind  of  Direct  Advertising. 
It  is  of  course  necessary  to  discriminate  in  making  selec- 
tions even  from  this  small  assortment,  since  no  one  face  is 
suitable  for  every  kind  of  work.  "  Boldface "  types,  for 
example,  are  not  suitable  for  the  text  of  a  catalogue  or 
booklet,  although  occasionally  they  can  be  used  effectively 
for  the  text  of  a  large  folder. 

When  in  doubt  as  to  the  face  that  you  ought  to  use,  you 
can  hardly  do  better  than  select  Caslon  Oldstyle,  which  is 
shown  on  the  pages  immediately  following  this.  Notwith- 
standing it  was  designed  nearly  two  hundred  years  ago,  it 
remains  to-day,  in  the  opinion  of  many  printers  and  adver- 
tising men,  including  the  writer  of  this  book,  the  most 
beautiful  and  legible  of  all  type-faces.  In  the  larger  sizes 
it  makes  an  excellent  display  type. 

The  following  displays  are  not  to  be  regarded  as  model 
catalogue  or  booklet  pages.  Their  purpose  is  to  show  the 
types,  not  the  method  of  using  them.  To  use  a  type  effec- 
tively, it  must  be  adapted  to  the  size  and  shape  of  the  space 
it  is  to  occupy,  as  has  already  been  explained  in  the  section 
devoted  to  "  Typography." 

167 


PRINCIPLE  S      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


M^i 


BUCKEYE   PREDOMINANCE 

The  unprecedented  demand  for  Buckeye 
Covers,  which  has  made  them  the  largest- 
selling  brand  of  cover  papers  in  the  world, 
is  of  real  and  definite  value  to  the  cover- 
paper  user;  for  this  demand  is  a  cause,  as 
well  as  an  effea,  of  the  superior  quality 
and  utility  which  charaderize  the  line. 
Buckeye  Covers  are  popular  because  they 
are  profitable;  and  they  are  profitable  to 
an  unusual  degree  simply  because  quan- 
tity produdion  has  enabled  us  to  give 
more  for  the  money,  in  both  paper  and 
service,  than  would  otherwise  be  possible. 
During  the  past  year  the  leadership  of 
Buckeye  Covers  has  been  steadily  main- 
tained, and  we  have  been  able  to  demon- 
strate  repeatedly   and   conclusively   that 
every  user  benefits  by  this  leadership.    In 
reducing  the  price  of  our  Double  Thick 

18-point  Caslon  Oldstyle  No.  471.     (Hand-set.) 
Upper  portion  set  loHd ;   lower  portion  2-point  leaded. 

I68 


H 


> 


BUCKEYE  PREDOMINANCE 

The  unprecedented  demand  for  Buckeye  Covers, 
which  has  made  them  the  largest-selling  brand  of 
cover  papers  in  the  world,  is  of  real  and  definite 
value  to  the  cover-paper  user ;  for  this  demand  is  a 
cause,  as  well  as  an  effect,  of  the  superior  quality 
and  utility  which  characterize  the  line.  Buckeye 
Covers  are  popular  because  they  are  profitable;  and 
they  are  profitable  to  an  unusual  degree  simply  be- 
cause quantity  production  has  enabled  us  to  give 
more  for  the  money,  in  both  paper  and  service, 
than  would  otherwise  be  possible.  During  the  past 
year  the  leadership  of  Buckeye  Covers  has  been 
steadily  maintained,  and  we  have  been  able  to  dem- 
onstrate repeatedly  and  conclusively  that  every  user 
benefits  by  this  leadership.  In  reducing  the  price 
of  our  Double  Thick  Buckeye  Covers  at  a  time 
when  the  general  price-trend  in  the  industry  was 
upward ;  in  improving  the  texture  of  the  entire  line 
without  increasing  its  price;  in  the  preparation  and 
publication  of  various  forms  of  business-building 
suggestions;  and  particularly  in  arranging  for  the 
manufacture  and  distribution  of  Buckeye  Cover 
Envelopes,  we  have  been  but  sharing  with  our 
customers  the  saving  resulting  from  the  increased 

14-point  Caslon  Oldstyle  No.  471.     (Hand-set) 
Upper  portion  set  solid ;   lower  portion  2-point  leaded. 

169 


m 


*mpm^    'ittmrnvm,. , 


:^m^ 


PRINCIPLES      AND       PRACTICE 


O  F 


D 


IRECT       ADVERTISING 


ii^|5^ 


() 


If" 


BUCKEYE  PREDOMINANCE 

The  unprecedented  demand  for  Buckeye  Covers,  which 
has  made  them  the  largest-selling  brand  of  cover  papers 
in  the  world,  is  of  real  and  definite  value  to  the  cover- 
paper  user;  for  this  demand  is  a  cause,  as  well  as  an  effect, 
of  the  superior  quality  and  utility  which  characterize  the 
line.  Buckeye  Covers  are  popular  because  they  are  profit- 
able; and  they  are  profitable  to  an  unusual  degree  simply 
because  quantity  production  has  enabled  us  to  give  more 
for  the  money,  in  both  paper  and  service,  than  would 
otherwise  be  possible.  During  the  past  year  the  leader- 
ship of  Buckeye  Covers  has  been  steadily  maintained,  and 
we  have  been  able  to  demonstrate  repeatedly  and  conclu- 
sively that  every  user  benefits  by  this  leadership.  In 
reducing  the  price  of  our  Double  Thick  Buckeye  Covers 
at  a  time  when  the  general  price-trend  in  the  industry  was 

upward;  in  improving  the  texture  of  the  entire  line  with- 
out increasing  its  price;  in  the  preparation  and  publication 
of  various  forms  of  business-building  suggestions;  and 
particularly  in  arranging  for  the  manufacture  and  distri- 
bution of  Buckeye  Cover  Envelopes,  we  have  been  but 
sharing  with  our  customers  the  saving  resulting  from  the 
increased  manufacturing  and  marketing  efl^ciency  that  their 
generous  patronage  has  helped  us  to  achieve.  The  net 
result  of  this  unique  condition  is  that  Buckeye  Covers,  in 
addition  to  being  the  easiest  to  buy  of  all  high-grade 
cover  papers,  are  also  the  easiest  to  use,  for  they  are 
backed  by  a  service  that  greatly  facilitates  satisfactory  selec- 
tion and  effective  treatment.  The  i6  colors,  4  finishes  and 

12-point  Caalon  Oklstylc  No.  471.     (Hand-set) 
Upper  portion  set  solid ;  lower  portion  2-point  leaded. 

170 


BUCKEYE  PREDOMINANCE 

The  unprecedented  demand  for  Buckeye  Covers,  which 
has  made  them  the  largest-selHng  brand  of  cover  papers 
in  the  world,  is  of  real  and  definite  value  to  the  cover- 
paper  user;  for  this  demand  is  a  cause,  as  well  as 
an  effect,  of  the  superior  quality  and  utility  which 
characterize  the  line.     Buckeye  Covers  are  popular 
became  they  are  profitable;  and  they  are  profitable  to 
an  unusual  degree  simply  because  quantity  production 
has  enabled  us  to  give  more  for  the  money,  in  both 
paper  and  service,  than  would  otherwise  be  possible. 
During  the  past  year  the  leadership  of  Buckeye  Covers 
has  been  steadily  maintained,  and  we  have  been  able  to 
demonstrate  repeatedly  and  conclusively  that  every 
user  benefits  by  this  leadership.    In  reducing  the  price 
of  our  Double  Thick  Buckeye  Covers  at  a  time  when 
the  general  price-trend  in  the  industry  was  upward ; 
in  improving  the  texture  of  the  entire  line  without  in- 
creasing its  price ;  in  the  preparation  and  publication 
of  various  forms  of  business-building  suggestions;  and 
particularly  in   arranging  for  the  manufacture  and 
distribution  of  Buckeye  Cover  Envelopes,  we  have  been 
but  sharing  with  our  customers  the  saving  resulting 
from  the  increased  manufacturing  and  marketing  effi- 
ciency that  their  generous  patronage  has  helped  us  to 


14-point  Bodoni  Book.     (Hand-set.) 

Upper  portion  set  solid ;  lower  portion  2-point  leaded. 

171 


**«.- 


PRINCIPLES      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


t 


mn 


pit  1 1 


BUCKEYE  COVER  PREDOMINANCE 
The  unprecedented  demand  for  Buckeye  Covers,  which 
has  made  them  the  largest-selling  brand  of  cover  papers  in 
the  world,  is  of  real  and  definite  value  to  the  cover-paper 
user;  for  this  demand  is  a  cause,  as  well  as  an  effect,  of 
the  superior  quality  and  utility  which  characterize  the  line. 
Buckeye  Covers  are  popular  because  they  are  profitable; 
and  they  are  profitable  to  an  unusual  degree  simply  because 
quantity  production  has  enabled  us  to  give  more  for  the 
money,  in  both  paper  and  service,  than  would  otherwise  be 
possible.     During  the  past  year  the  leadership  of  Buckeye 
Covers  has  been  steadily  maintained,  and  we  have  been 
able  to  demonstrate  repeatedly  and  conclusively  that  every 
user  benefits  by  this  leadership.     In  reducing  the  price  of 
our  Double  Thick  Buckeye  Covers  at  a  time  when  the  gen- 
eral price-trend  in  the  industry  was  upward ;  in  improving 
the  texture  of  the  entire  line  without  increasing  its  price ; 
in  the  preparation  and  publication  of  various  forms  of 
business-building  suggestions;  and  particularly  in  arranging 
for  the  manufacture  and  distribution  of  Buckeye  Cover  En- 
velopes, we  have  been  but  sharing  with  our  customers  the 
saving  resulting  from  the  increased  manufacturing  and  mar- 
keting efficiency  that  their  generous  patronage  has  helped 
us  to  achieve.     The  net  result  of  this  unique  condition  is 
that  Buckeye  Covers,  in  addition  to  being  the  easiest  to 
BUY  of  all  high-grade  cover  papers,  are  also  the  easiest  to 
USE,  for  they  are  backed  by  a  service  that  greatly  facilitates 
satisfactory  selection  and  effective  treatment.  The  16  colors, 
4  finishes  and  4  weights  make  it  easy  to  select  a  sheet  exactly 

12-point  Bodoni  Book.     (Hand-set) 

Upper  portion  set  solid ;   lower  portion  2-point  leaded. 

172 


M 


BUCKEYE  PREDOMINANCE 

The  unprecedented  demand  for  Buckeye  Covers, 
which  has  made  them  the  largest- selling  brand 
of  cover  papers  in  the  world,  is  of  real  and  definite 
value  to  the  cover-paper  user ;  for  this  demand  is 
a  cause,  as  well  as  an  efFecft,  of  the  superior  qual- 
ity and  utility  which  charad:eri2,e  the  line.  Buckeye 
Covers  are  popular  because  they  are  profitable; 
and  they  are  profitable  to  an  unusual  degree  simply 
because  quantity  production  has  enabled  us  to  give 
more  for  the  money,  in  both  paper  and  service, 
than  would  otherwise  be  possible.  During  the 
past  year  the  leadership  of  Buckeye  Covers  has 
been  steadily  maintained,  and  we  have  been  able 
to  demonstrate  repeatedly  and  conclusively  that 
every  user  benefits  by  this  leadership.  In  reducing 
the  price  of  our  Double  Thick  Buckeye  Covers 
at  a  time  when  the  general  price-trend  in  the  in- 
dustry  was  upward ;  in  improving  the  texture  of 
the  entire  line  without  increasing  its  price ;  in  the 
preparation  and  publication  of  various  forms  of 
business-building  suggestions ;  and  particularly  in 
arranging  for  the  manufacture  and  distribution  of 
Buckeye  Cover  Envelopes,  we  have  been  but  shar- 
ing with  our  customers  the  saving  resulting  from 

18-point  Kennerley.    (Hand-set.) 

Upper  portion  set  solid ;   lower  portion  2-point  leaded. 

m 


PRINCIPLES      AND      PRACTICE 


OF       DIRECT       ADVERTI  SING 


HI 


BUCKEYE  COVER  PREDOMINANCE 
The  unprecedented  demand  for  Buckeye  Covers,  which  has  made 
them  the  largest-selling  brand  of  cover  papers  in  the  world,  is  of 
real  and  definite  value  to  the  cover-paper  user ;  for  this  demand  is  a 
cause,  as  well  as  an  effed:,  of  the  superior  quality  and  utility  which 
characterize  the  line.     Buckeye  Covers  are  popular  because  they 
are  profitable ;  and  they  are  profitable  to  an  unusual  degree  simply 
because  quantity  produdtion  has  enabled  us  to  give  more  for  the 
money,  in  both  paper  and  service,  than  would  otherwise  be  possible. 
During  the  past  year  the  leadership  of  Buckeye  Covers  has  been 
steadily  maintained,  and  we  have  been  able  to  demonstrate  repeat- 
edly and  conclusively  that  every  user  benefits  by  this  leadership.    In 
reducing  the  price  of  our  Double  Thick  Buckeye  Covers  at  a  time 
when  the  general  price-trend  in  the  industry  was  upward ;  in  im- 
proving the  texture  of  the  entire  line  without  increasing  its  price ; 
in  the  preparation  and  publication  of  various  forms  of  business- 
building  suggestions  •  and  particularly  in  arranging  for  the  manufac- 
ture and  distribution  of  Buckeye  Cover  Envelopes,  we  have  been  but 
sharing  with  our  customers  the  saving  resulting  from  the  increased 
manufacituring  and  marketing  efficiency  that  their  generous  patronage 
has  helped  us  to  achieve.  The  net  result  of  this  unique  condition  is 
that  Buckeye  Covers,  in  addition  to  being  the  easiest  to  buy  of  all 
high-grade  cover  papers,  are  also  the  easiest  to  use,  for  they  are 
backed  by  a  service  that  greatly  facilitates  satisfactory  selection  and 
effective  treatment.     The  i6  colors,  4  finishes  and  4  weights  make 
it  easy  to  seledt  a  sheet  exactly  adapted  to  the  requirements  of  the 
job ;  and  these  are  displayed  in  the  New  Buckeye  Cover  Sample  Book 
in  such  a  way  that  all  of  the  weights  in  each  color  can  be  instantly 
located  and  compared.    The  paper  having  been  seledled,  reference  to 
The  Buckeye  Proofs  will  furnish  invaluable  suggestions  as  to  the 
process  that  can  be  used  to  the  best  advantage.     These  "proofs" 
are  not  mere  samples  —  they  are  reproductions  of  actual  covers,  and 
include  unusual  examples  of  hot  embossing,  rubber  offset  and  photo- 
gravure work,  as  well  as  flat  printing.     If  it  is  necessary  to  submit 

10-point  Kennerley.    (Hand-set.) 

Upp«r  portion  »et  solid ;  lower  portion  2-point  leaded. 

174 


BUCKEYE  COVERS  AN  ASSET 
Unprecedented  demand  for  Buckeye 
Covers,  which  has  made  them  the 
largest  selling  brand  of  cover  papers  in 


14  Point  Gaslon  Bold 


COVER    PREDOMINANCE 

The  unprecedented  demand  for 
Buckeye  Covers,  has  resulted 


18  Point  Gaslon  Bold 


BUCKEYE    COVERS 

The  demand  for  Buckeye 
Covers,  which  has  made 


24  Point  Gaslon  Bold 


NEW   BUCKEYE 

Covers  T^^hich  have 


30  Point  Gaslon  Bold 


17s 


'1   1 


P  R  I  N  C  I  P  LES      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


BUCKEYE  COVER  PREDOMINANCE 
The  unprecedented  demand  for  Buckeye 
Covers,  which  has  made  them  the  largest 
selling  brand  of  cover  papers  in  the  world 


14  Point  Cheltenham  Bold 


BUCKEYE  COVER  PREDOMINANCE 
is  an  asset  to  every  paper  buyer.  The 
unprecedented  demand  for  Buckeye  Covers 
has  made  them  the  largest  selling  brand 


14  Point  Cheltenham  Bold  Italic 


*i 


I 


» 


pp> 


BUCKEYE  COVERS  AN  ASSET 

The  unprecedented   demand    for 
Buckeye  Covers,  which  has  made 


18  Point  Cheltenham  Bold 


THE   UNPRECEDENTED 

demand  for  the  Buckeye 
Covers  has  made  them  the 


24  Point  Cheltenham  Bold 


BUCKEYE  COVERS 

Are   popular  because 


30  Point  Cheltenham  Bold 


176 


BUCKEYE  PREDOMINANCE 
The  unprecedented  demand  for 
Buckeye  Covers,  which  has  made 


^        18  Point  Cheltenham  Bold  Italic 


r  < 


BUCKEYE  COVERS  AN 

asset  to  every  paper  buyer 
The  demand  for  Buckeye 


24  Point  Cheltenham  Bold  Italic 


UNPRECEDENTED 

demand  for  Buckeye 


30  Point  Cheltv?nham  Bold  Italic 


177 


PRINCIPLES      AND      PRACTICE 


OF       DIRECT       ADVERTISING 


a 


1 


^1 


!! 


INDEX 


NOTE.— Index  is  arranged  alphabeticaUy,  except  that  contents  of  a 
few  important  sections,  such  as  "Catalogues  and  Booklets"  are  listed  in 
consecutive  order  under  the  proper  headings,  in  addition  to  the  alpha- 
betical hstmg.  *^ 

PAGE 

Address  Label  on  Folders j29 

Advertising  a  Form  of  Selling 5 

Advertising,  Cost  of,  in  Publications 13 

Analyzing  your  Problem 21 

Antique-finish  Cover  Papers jos 

Appeal,  Finding  the  Point  of 97 

Appeal,  Importance  of  Making  Specific 25 

Art,  when  not  Good  Salesmanship 72 

Atmosphere  as  a  Selling  Factor 51 

Auto-Lock  Folder  with  Return  Card 142-3 

Automobile  Catalogues,  Buckeye  Cover  used  for. ...............  43 

Automobile  Parts,  Advertising  to  Automobile  Buyers . ..............  22 

Back  Cover  in  Catalogues  and  Booklets,  Selling  Possibilities  of  112 

Bases,  Patent,  for  Electrotypes '51 

Beckett  Paper  Company,  The,  Mill  of 40-50 

Ben  Day  Color  Work 53 

Ben  Day  Process 47 

Ben  Day  Shading  Mediums 45 

Ben  Day  Tints  on  Covers io3-4 

Binding  Catalogues  and  Booklets ..................[...  114 

BINDING  STYLES. 

Loose-Leaf  Catalogues 1 1  k 

Saddle  Stitching '.'.'.'.'.'.'.'.". 114 

Sewing " U5 

Side  Stitching H5 

Bird's-eye  Views,  How  Made 37 

Blotter  Carrier  with  Order  Blank  Blotter i44-5 

Blue-prints,  Wash-drawings  from 35 

Board  Covers  on  Catalogues  and  Booklets no 

Bodoni  Tjrpe i71-2 

Boldface  Type,  use  of 7g 


178 


PAGE 

Boldface  Type,  examples  of 175-177 

Booklets,  see  ^'Catalogues  and  Booklets." 

Books  about  House  Organs 124 

Books  about  Circular  Letters 156 

Borders,  Decorative 85-6 

Borders,  Pictorial 86 

Bread  Recipe  Books,  to  Sell  Yeast 23 

Broadside  Folder 136-7 

See  also  ''Folders  and  Broadsides." 

BUCKEYE  COVER. 

Advertisement 188-189 

Folders  and  Broadsides 126 

Envelopes 120 

Embossing  on 71 

Offset  Printing  on 164 

Printed  from  Line  Engravings 64 

Sales  as  a  Gmde  to  Paper  Selection 107 

Used  in  this  Book 4 

Buildings,  Illustrated  Before  Erection 36 

Building  Materials  and  Equipment,  Advertised  to  Home  Builders 22 

Bumislung  Half-tone  Plates 39 

"Butterfly"  Folder 140-1 

Business  Magazines,  Cost  of  Advertising  in 13 

CAMPAIGN,  Planning  the 21 

Analyzing  your  Problem 21 

Selecting  your  "Prospects" 22 

Direct  Advertising  and  Indirect  Selling 22 

Preparing  tiie  Mailing  List 23 

Determining  the  Character  of  the  Appeal 24 

What  Kind  of  Pieces 26 

How  many  Pieces 26 

What  should  the  Pieces  Cost 27 

Capitals,  Use  of 77 

Cord,  Silk 115 

Carpet,  Illustrating 49 

Caslon  Old  Style  Type 168-170 

Caslon  Bold  Type 175 

Catalogue  Letterhead 146-7 

CATALOGUES  AND  BOOKLETS. 

Definition 87 

Planning  the  Catalogue 87 

Sizes,  How  Determined 88 

Sizes,  How  Affected  by  Illustrations 90 

When  the  Catalogue  is  Overweight 90 

Allowing  for  Ink  and  Paper 91 

Specimen  Pages,  Use  of 92 

Selecting  the  Paper 92 

How  to  use  the  Dummy 93 

179 


/^w^ 


ll 


PRINCIPLES      AND       PRACTICE 


PAGB 

Laying  Out  and  Making  Up 93 

The  "Center  Spread" 96 

Should  the  Factory  be  Advertised 96 

The  Cover 99 

Detailed  Cover  suggestions  Indexed  under  "  Covers." 

Binding  Styles 114 

Detailed  Binding  suggestions  Indexed  under  "Binding." 

Center  Spread  in  Catalogues  and  Booklets 96 

Charcoal  Drawings,  Engravings  from 37 

Cheltenham  Bold  Type 176 

Cheltenham  Bold  Italic  Type 177 

Circulars,  Cost  of 14  and  27 

Circular  Letters 156 

City  Directories,  Getting  Names  From 24 

Class  Publications 12 

Coated  Paper 45 

Collar  Button,  Size  of  Booklet  for 90 

Colored  Papers,  How  they  Save  Printing 102 

Color,  Use  of  as  Emphasis 78 

Commercial  Agency  Reference  Books,  Getting  Names  from 24 

Competition,  Importance  of  Recognizing 21 

Composition,  Linotype,  Monotype  and  Hand 79 

Concrete  Construction,  Advertising  to  Sell  Cement 23 

Condensed  Type 74-5 

Copyright  Notice 2 

Copywriting,  Hints  on 65 

Copy  writing,  for  Catalogues  and  Booklets 88 

Cost  of  Direct  Advertising  Pieces 27 

Cost,  Lowest,  of  Circulars 28 

Cover  Designs  for  Folders 129 

COVERS,  for  Catalogues  and  Booklets 99 

"Introducing  the  Salesman" 99 

How  Covers  Can  Help  Sales 100 

Cover  must  "Say  Something" 101 

Making  the  Sketch 101 

How  Paper  Saves  Printing 102 

Make  Sketch  on  Right  Paper 103 

Cover  Designs  from  Type 103-4 

Selecting  the  Cover  Paper 105 

Avoiding  Costly  Mistakes 105 

Paying  More  and  Getting  Less 106 

Finding  the  Right  Cover 106 

When  the  Paper  must  be  Selected  First 107 

What  our  Records  Show 107 

"Antique  Finish"  Made  by  many  Mills 108 

COVER  STYLES 108 

Integral  Covers 108 

Flush  Trimmed  Covers 108 

Extension  Covers 109 

i8o 


^ 


-< 


#ff^; 


OF       D  I  RECT        ADVERTISING 

PAGE 

Secondary  Covers HO 

Board  Covers HO 

Flexible  Leather  Covers HO 

Lining  and  End  Sheets HI 

Selling  Possibilities  of  the  Back  Cover H2 

Crash  Fim'sh  Buckeye  Cover 106 

Crayon  Drawings,  Engravings  From 37 

DRAWINGS  AND  ENGRAVINGS 30 

Half-tone  Process,  The 30 

For  Detailed  Index,  See  "  Half-Tone." 

Line  Engravings 46 

For  Detailed  Index,  see  "Line-Engravings." 

Woodcuts 54 

Sizes  of  Drawings 57 

Scaling  a  Drawing 58 

Instructions  to  the  Engraver 59 

Electrotjrpes 60 

For  Detailed  Index,  see  "Electrotypes." 

Decorative  Borders 85 

Decorative  Treatment  of  Catalogue  Pages 94 

Descriptions  of  Product  not  Always  Good  Advertising 25 

Designs,  Cover,  from  Type 103 

Directories,  Making  Up  Mailing  Lists  from 24 

Display  in  Advertising 78 

Druggist,  Problem  of  the  Local H 

Dull-coated  Papers 45 

Dummies,  How  to  Use ^3 

Dummies,  Unprinted,  Choosing  Paper  from 106 

Duographs 42 

Duotypes 42 

Electric  Flatirons,  Where  Sold H 

Electric  Devices,  Sold  at  Cost 23 

ELECTROTYPES 60 

Lead  Moulded 60 

Nickeltypes 60 

Motmting 61 

Patent  Bases 61 

How  Electrotypes  Cut  Printing  Costs 62 

Soldering  Rule  Joints 63 

Emphasis,  How  to  Secure  in  Print 77 

End  Sheets  in  Catalogues  and  Booklets HI 

Envelope  Stuffers 131 

Envelopes,  For  Mailing  Catalogues  and  Booklets 120-121 

Envelopes,  Pennysaver 163 

Envelopes,  Stamped 165 

Engraver,  Instructions  to 59 

Engravings,  see  "Drawings  and  Engravings." 

Extended  Type 74-5 

i8i 


V  ^. 


.^mMMHa^lii''' 


il 


I 


m\ 


PRINCIPLES       AND       PRACTICE 


PAGE 

Extension  Covers,  on  Catalogues  and  Booklets 109 

Factory,  The,  Featuring 70  and  96 

Factory,  The,  Taking  to  Customer. 122 

Fleischmann  Yeast  Co.  Bread  Recipe  Booklet 23 

Flexible  Leather  Covers,  on  Catalogues  and  Booklets 110 

Floss,  Silk,  For  Binding 115 

Flush  Trimmed  Covers 108 

FOLDERS  AND  BROADSIDES 125 

Large  Folders 125 

Small  Folders 127 

Design  and  Arrangement 128 

Return  Post  Cards 130 

Envelope  Stuffers 131 

FOLDER  SUGGESTIONS. 

Broadside  Folder  With  Return  Postal 136-7 

Big  Mailing  Pieces  for  Little  Lists 138-9 

Butterfly  Folder 140-1 

Auto-lock  Folder 142-3 

Blotter  Carrier  With  Order  Blank  Blotter 144-5 

Catalogue  Letter-head 146-147 

Outlook  Letter  Circular 148-9 

Mailing  Small  Samples 150-1 

Automatic  Reply  Folders 152-5 

Four-color  Process  Plates 40 

Garter,  Size  of  Booklet  For 90 

General  Advertising,  Physical  Limitations  of 12 

General  Advertising,  Compared  with  Direct  Advertising 13 

Good  Will,  Importance  of 122 

HALF-TONE  PROCESS,  THE 30 

Fine  and  Coarse  Half-tones 32 

Illustration  Showing  Half-tone  Screens 33 

Best  Screen  for  Miscellaneous  Uses 34 

Examples  of  Outlines  and  Square  Finished  Half-tones 34 

Copies  Half-tones  can  be  made  from 35 

High-light  Half-tone  from  Pencil  Drawing 36 

Half-tone  from  Wash  Drawing 36 

Limitation  of  the  Half-tone  Illustrated 38 

Process  Plates 40 

Duotypes 42 

Duographs 42 

Reversed  Half-tones 42 

Finishing  the  Half-tone 44 

Printing  the  Half-tone 44 

Coated  and  Dull-coated  Papers 45 

Hand  Composition 79 

Hand  Lettering 80 

High-light  Half-tone 36 

Hot  Stampmg 46,  157 

182 


O  F 


DIRECT        ADVERTISING 


PAGB 

HOUSE  ORGANS \l\ 

Definition  of {5, 

Making  Interesting f;J 

High  Mortality  Among J*T 

Regularity  Essential Jj* 

Syndicate 1 24 

Books  About 

Illustrations,  see  "Drawings  and  Engravings." 

Illustrations,  How  They  Affect  Page  Sizes w 

Impressionism  in  Commercial  Illustrations ^^ 

Indifference  of  Reader,  How  to  Capitalize jo 

Index,  in  Catalogues  and  Booklets JJ* 

Information  Blanks *  J^ 

Ink,  Allowance  for  Weight  of ^J 

Inserts,  Package,  from  Waste  Stock "f 

Insurance,  Life,  How  Sold j| 

Integral  Covers *"° 

Italics,  Use  of 

Job  Types,  Fancy,  Objections  to ^^-3 

Justification,  see  "Hand  Composition." 

Kenneriey  Type ^^^I^ 

Kerosene,  Enlarging  Market  for ^^ 

Labels,  Address,  on  Folders J29 

Labels,  from  Waste  Stock ^J-J 

Laying  out  a  Catalogue  or  Booklet ^ 

Lead  Moulded  Electros 9}J 

Leather  Covers,  Flexible ^i" 

LegibUity  of  Type  Matter ■  J^ 

Letter-circular,  Outlook JJfT 

Letter-head,  Catalogue **^ 

Lettering,  Hand XX 

Letters,  Circular,  Cost  of ;? 

Life  Insurance,  How  Sold ^^ 

LINE-ENGRAVINGS ^ 

Ben  Day  Patterns T^ 

Ben  Day  Process *' 

Stipple  Drawing *® 

When  Lhie-engravings  Are  Expensive *^ 

"Atmosphere"  in  Line-engravings 51 

Colorwork  and  Tint-blocks ^ 

Printing I* 

Reversing - , , 

Lining  Sheets,  in  Catalogues  and  Booklets *" 

Linotype  Composition JJ 

Lists,  MaUing,  How  Secured i^ 

Lists,  Small,  Big  Mailing  Pieces  for J|2 

Lithography 

183 


if 


ii 


PRINCIPLES      AND       PRACTICE 


PAGE 

Loose  Leaf  Catalogues 115-16 

Lyon  &  Healy,  Booklet  Used  by 113 

Machinery  Catalogue,  Cover  for 99 

Mailing  Catalogues  or  Booklets  without  Envelopes 112 

Mailing  Cards I34 

Mailing  Cards  from  Waste  Stock 133 

Mailing  Envelopes ' '  120 

Mailing  Folders,  Address  Labels 129 

Mailing  List,  Preparation  of 23 

Mailing  Merchandise  Samples * . .  *   159 

Mailing,  Methods  of  Prepaying  Postage ,   165 

Mail  Order  Catalogues 8,  37 

Make-up,  Effective,  for  Catalogue 95 

Making  up  a  Catalogue  or  Booklet 93 

Monotype  Composition 79 

Motmting  Electrotypes 51 

Names  of  Prospects,  Sources  of 24 

Nickeltypes ]    [     50 

Objective  Advertising 70 

Offset  Process,  Rubber 157 

Oil  Paintings,  Half-tones  from 37 

Order  Blank  Blotter '  i44-5 

Order  Blanks i9, 112 

Order,  Making  it  Easy  to 19 

Original  Plates,  Printing  from 62 

Outlined  Half-tone 44 

Outlook  Automatic  Reply  Folder i52-3 

Outlook  Letter-circular 148-9 

Outside  Viewpoint,  Getting  the 97 

Overweight,  when  Catalogue  is 90 

Packard  Motor  Car  Catalogue 116 

Package  Inserts  from  Waste  Stock 133 

Paper,  Catalogue,  Selecting 92 

Paper,  Colored,  how  Saves  Printing ,, ,  102 

Paper,  Cover,  Selecting io5 

Paper,  Half-tone 45 

Paper,  Samples,  Postage  on 159 

Paper,  Sizes,  Stock  and  Special 118 

Paper,  Waste,  Utilizing *  ] . .  *   ii8-19 

Paper,  Weight  of.  Variation  in [[_  91 

Parcel  Post 159 

Pasted-down  End  Sheets Ill 

Patent  Bases  for  Electrotypes 61 

Planning  the  Campaign,  see  "Campaign." 

Pencil  Drawings,  Engravings  from 37 

Pennysaver  Envelopes,  Postage  on 163 

Permit,  Special,  Mailing  under [[ ,  I66 

184 


V 


OF       DIRECT       ADVERTISING 

PAGE 

Photographs,  Retouched  and  Unretouched 35 

Photographs,  sizes  to  make |j 

Photography,  Limitations  of •    •  •     |* 

Pianos,  how  Illustrated Jo 

Pianos,  Size  of  Catalogue  for Jj 

Postage {2; 

Postage  on  Circular  Letters J?" 

Postage,  Free,  on  Direct  Advertising l|* 

Postage,  Minimum,  on  Direct  Advertising 27 

Postage,  on  "Overweight"  Catalogues w 

Postage,  Prepayment,  Methods  of JJJ 

Postage,  When  Not  Affected  by  Sealing J03 

Post  Cards Jf? 

Post  Cards,  Return •  •  Jf" 

Post  Cards,  in  Catalogues  and  Booklets n^i  J  J^ 

Post  Cards,  in  Sheets \\^ 

Post  Cards,  from  Waste  Stock "J 

Postmaster,  Getting  His  O.  K *^ 

Preliminary  Sketches J^ 

Prepaying  Postage,  Methods  of ^J^ 

Process  Plates ?" 

Proofs,  in  Making  Up  Dummies Jz 

Proofs,  Selecting  Covers  from *"^ 

Prospects,  Selecting  Your jt 

Precanceled  Stamps *?? 

Printing  Costs,  How  Cut  by  Electrotypes Vt 

Printing  Costs,  How  Cut  by  Colored  Papers 102 

Printing  Establishments  in  America ^ 

Printing  Half-tones ** 

Printing  Line-engravings rj 

Printing  Methods •.;••: *Ji 

Printing  Trade  Publications,  Cost  of  Advertismg  m 1* 

Printing  Woodcuts Jc 

Publishers,  Why  They  Use  Direct  Advertismg as 

ReadabiUty  of  Direct  Advertising,  see  "Typography."  • 

Return  Post  Cards • :;;  "" 

Return  Post  Cards  in  Catalogues  and  Booklets ^o  ii 

Reversed  Half-tones •  •  • -^^J  Jf 

Reversed  Line  Engravings ^*»  ^^' fZ 

Rubber  Offset  Printing  Process \^[ 

Rule  Borders,  on  Catalogues  Covers JJJ;» 

Rule  Borders,  on  Crash  Finish  Buckeye  Cover i^o 

Rule  Borders,  Soldering  Joints  when  Electrotyping 03 

Saddle-stitched  Catalogues  and  Booklets 1}* 

Sale,  Clinching  the .JZ 

Sales,  How  Covers  Help ^^ 

Salesman,  Folder  Suggesting  Call  of ^ 

Salesman,  Introducing  the  Printed ^^ 

185 


I 


,•*«:-  -■!.0mg. 


Hi  |il 


I 


PRINCIPLES      AND      PRACTICE 


PAGE 

Samples,  Sent  with  Catalogues  or  Booklets 112 

Scaling  a  Drawing 58 

Screens,  Half-tone 32,  33,  34 

SeaUng  Third-class  MaH  Matter 163 

Secondary  Covers  on  Catalogues  and  Booklets 110 

Secrecy  of  Direct  Advertising 19 

Selling  Costs,  How  Small  Folders  Cut 127 

Selling  Goods  Before  Showing  Them 12 

Selling,  Importance  of  Right  Appeal  in 24 

Selling,  Indirect 22 

Selling  Low-priced  Articles  by  Mail 26 

Sewing  Catalogues  and  Booklets 115 

Shading,  Ben  Day  Method 46,  47 

Side  Lines  as  Business  Stimulators 23 

Side  Stitching 115 

Silk  Cord  or  Floss 115 

Sizes,  Catalogue  and  Booldet 88 

Sketches,  Cover 101,  103 

Sketches,  Preliminary,  in  Dimimies 95 

Sketches,  Wash-drawings  from 36 

Spacing,  Typographic 76 

Special  Permit,  Mailing  Under 166 

Specialization  in  Industry,  Direct  Advertising  a  Result  of 9 

Specimen  Pages,  Type 167-177 

Spread,  Center,  in  Catalogues 96 

Square  Half-tones 45 

Stamps,  Buying  at  Discount 164 

Stamps,  Precanceled 166 

Stamping,  Hot 46,  158 

Standard  Oil  Company,  Why  Sells  Lamps 23 

Stitching,  Saddle 114 

Stitching,  Side 115 

Stock  Tickets  from  Waste  Stock 133 

StufiFers,  Envelope 131 

S]mdicate  House  Organs 124 

Technical  Publications 12 

Telephone  Directories,  Names  from 24 

Three-color  Process  Plates 40 

Tiffany  Blue  Book,  not  Illustrated 87 

Time  Slips  from  Waste  Stock 133 

Tint  Plates 53 

Tints,  Ben  Day,  on  Covers 103, 104 

Toilet  Article  Booklet,  Cover  for 99 

Tooling  Half-tone  Plates 39 

Trade  Directories,  Names  from 24 

Trimming  Catalogues  to  cut  Postage 91 

Trimming  Covers  Flush 108 

Two-color  Process  Plates 40 

Type,  Adapting  to  Space 74 

i86 


X 


O  F       DIRECT       ADVERTISING 

PAGB 

Type-faces,  Popular l^J 

Type-forms,  Electrotyping JJ 

TYPOGRAPHY Jf 

Avoid  Fancy  Job  Faces 73 

Adapting  Type  to  Space J* 

Proper  Arrangement JJ 

Don't  Use  Small  Type Jj 

•'Keeping  the  Reader  Going" •  •  J; 

Capitalizmg  Reader's  Indifference 70 

How  Not  to  Use  Spaces Jo 

Italics  and  Capitals jj 

Underscoring 44 

Boldface ^ 

Color  as  Emphasis Jj 

Display 4; 

Methods  of  Setting  Type 79 

Underscoring,  in  Typography ^ 

Vignetted  Half-tone J* 

Wall  Paper,  Illustrating *J 

Wash  Drawings,  Half-tones  from •  •  •     JO 

Waste  Cover  Paper,  Utilization  of '  }  J? 

Waste  Presswork,  Utilization  of 1^2 

See  also  "Envelope  Stuffers." 

Water  Color  Paintings,  Half-tones  from 37 

Woodcuts ,5; 

Work  Tickets,  from  Waste  Stock J33 

Wrappers,  Stamped,  for  Mailing 1<>* 

Zinc  Etchings,  see  "Line-engravings." 


187 


11 


II 


The  Standard 
Medium  for 
Direct  Advertising 

(An  Advertisement) 

In  Direct  Advertising  by  mail,  as  in  Gen- 
eral Advertising,  the  efficiency  of  a  cam- 
paign is  determined  largely  by  the  character 
of  the  mediums  used. 

You  must  use  the  right  papers  if  your 
selling  message  is  to  be  carried  to  your 
prospective  customers  effectively  and  eco- 
nomically, whether  you  are  buying  "  space  " 
of  a  publisher  or  a  printer. 

And  just  as  you  can  instantly  recognize  cer- 
tain of  these  "  right "  papers,  in  the  General 
field,  from  the  fact  that  they  have  already 
won  the  approval  and  patronage  of  the  most 
successful  advertisers,  so  you  can,  in  the 
same  way  and  with  almost  equal  readiness, 
find  the  right  papers  for  your  Direct  Ad' 
vertising, 

A  brief  examination  of  any  representative 
collection  of  up-to-date  Catalogues,  Book- 
lets, Folders,  etc.,  will  show  you  that  in  this 
class  of  advertising  the  predominant  papers 
are  BUCKEYE  COVERS. 

BUCKEYE  CO VERS,"The  Standard  Cover 
Papers  for  Economically  Effective  Business 


V 


Literature,"  are  the  largest-selling  brand  of 
covers  in  the  world.  They  are  used  oftener 
than  any  other  because  they  can  be  used 
more  profitably  than  any  other. 

The  saving  due  to  quantity  production  is 
greater  in  the  paper  business  than  in  any 
other  of  which  we  know ;  and  the  enormous 
demand  for  BUCKEYE  COVERS,  as  a  con- 
sequence, has  enabled  us  to  produce  a  paper 
that  no  other  maker  has  ever  been  able  to 
match,  at  anywhere  near  the  price. 

BUCKEYE  COVERS  are  the  only  high- 
grade  cover  papers  that  are  used  exten- 
sively by  the  large  mail-order  houses. 

They  are  also  the  only  "cheap"  cover  papers 
that  are  used  extensively  in  the  manufacture 
of  high-grade  Catalogues  and  Booklets. 

The  price,  on  the  one  hand,  is  low  enough 
to  make  them  attractive  to  those  advertisers 
who  must  keep  their  costs  down. 

The  quality,  on  the  other  hand,  is  high 
enough  to  make  them  attractive  to  those 
advertisers  who  want  the  most  effective 
printed  matter  they  can  get,  regardless  of 
its  cost. 

The  value  represented  by  this  unique  com- 
bination of  high  quality  and  moderate  price, 
is  the  reason  why  you,  too,  should  use 
BUCKEYE  COVERS  for  your  Direct 
Advertising. 


'^' 


i88 


189 


I:' 


I 


LET  OUR  REPRESENTATIVE 

HELP  YOU 

Somewhere  near  you  — probably  in  your  own  city  — 
there  is  a  dealer  who  sells  BUCKEYE  COVERS.  He  is  a 
good  man  to  know.  He  can  help  you  to  make  sure  that  you 
get  full  value  for  the  money  you  invest  in  Direct  Adver- 
tising. 

He  can  do  this  by  cooperating  with  your  printer.  Put 
your  PRINTING  problems  up  to  a  printer  who  is  in  the 
habit  of  putting  his  PAPER  problems  up  to  a  Buckeye 
Cover  dealer,  and  you  will  have  done  about  all  that  is 
humanly  possible  in  the  way  of  guarding  against  unsatis- 
factory service. 

Printers  and  their  customers  find  cooperation  with 
Buckeye  Cover  dealers  profitable,  not  alone  because  these 
dealers  sell  Buckeye  Covers,  but  because  each  one  of  them 
is  the  representative  paper  merchant  in  his  territory,  who 
has  the  necessary  equipment,  the  necessary  stock  and  the 
necessary  experience  to  serve  every  customer  promptly  and 
adequately. 

Your  printer  can  give  more  for  the  money  you  pay  him, 
and  at  the  same  time  get  more  for  his  own  work,  by  taking 
advantage  of  the  service  offered  by  the  nearest  Buckeye 
Cover  dealer,  as  well  as  of  the  very  unusual  quality  and 
value  that  we  have  put  into  BUCKEYE  COVERS  them- 
selves. 

THE  BECKETT  PAPER  COMPANY 

MAKERS  OF  GOOD  PAPER 
in  Hamilton,  Ohio,  since  1848 


190 


,;r-1" 


BUCKEYE    COVER    DEALERS 


BALTIMORE 

BIRMINGHAM 

BOSTON 

BUFFALO 

CALGARY 

CHICAGO 


CINONNATI 


CLEVELAND 

COLUMBUS 
DALLAS 

DAYTON 

DETROIT 

DESMQINES 

DENVER 

EDMONTON 

GRAND  RAPIDS 

HOUSTON 

INDIANAPOLIS 

KANSAS  CITY 

UNCOLN 

UTTLE  ROCK 

LOS  ANGELES 

LOUISVILLE 

MEMPHIS 

MIDDLETOWN, 


South,  DizoB  CompuV)  DiriMon 

The  Whitkker  Pkper  Co. 

The  Arnold-Roberts  Co. 

The  Ailing  &  Cory  Co. 

John  Martin  Paper  Co.,  Ltd. 
fJ.W.  Butler  ftper  Co. 

Jtmes  White  P4>er  Co. 

The  Chmtfield,  &  Woods  Co. 

The  Cin'ti  Cordage  tc  Paper  Co. 

The  Diem  &  Wing  Pkper  Co. 

The  Whitdcef  Paper  Co. 
fThe  Central  Ohio  Paper  Co. 
IThe  Union  Paper  and  Twine  Co. 

The  Central  Ohio  Paper  Co. 

Southwestern  Pkper  Co. 
fGndnnati  Cord^  &  Paper  Co. 
iThe  Keogh  &  Rike  Paper  Co. 

The  Union  Paper  &  Twine  Co. 

The  Carpenter  Paper  Co. 

The  Peters  Pkper  Co. 

John  Martin  Paper  Co.,  Ltd. 

Central  Michigan  Paper  Co. 

Soathwestem  P)^>cr  Co. 

{Indiana  Paper  Co. 
C.  P.  Lesh  Pftper  Cow 
Graham  Paper  Co. 
Lincoln  Paper  Co. 
Western  Newspaper  Union 
Zellerbach  Psper  Co. 
Louisville  Psper  Co. 
Tayloe  Paper  Co. 
O.  The  Ssbin  Robbins  Paper  Co. 


MILWAUKEE 

MINNEAPOUS 
MONTREAL 
NASHVILLE 
NEW  ORLEANS 
NEW  YORK 
OAKLAND 


{The  E.  A.  Bouer  Co. 
(Standard  Paper  Co. 

McCIellan  Piper  Co. 

Federal  Paper  Co.,  Ltd. 

Graham  Paper  Co. 

E~  C.  Palmer  &  Co. 

Henry  Lindenmejrr  &  Sons. 

Zellerbach  Paper  Co. 


OKLAHOMA  CITY  Western  Newspaper  Union 


OMAHA. 
PHILADELPHIA 

PITTSBURGH 

PORTLAND,  ORE, 

RICHMOND,  VA. 

ROCHESTER 

ST.  LOUIS 

ST.  PAUL 

SALT  LAKE  CITY 

SAN  FRANCISCO 

SEATTLE 

SIOUX  CITY 

SPOKANE 

SPRINGFIELD, 

MASS. 
TOLEDO 
TORONTO 
WICHITA 
WINNIPEG 


Carpenter  Paper  Co. 
Garrctt-Buctuuian  Co. 

{The  Ailing  &  Cory  Co. 
The  Chacfield  &  Woods  Co. 

Pacific  Paper  Co. 

Richmond  Paper  Co.,  Inc. 

The  Ailing  &  Cory  Co. 

Graham  Paper  Co.  * 

Wright,  Barrett  &  Stilwell  Co. 

Carrier  Paper  Co.  of  Uuh 

Zellerbach  Pkper  Co. 

Richmond  Paper  Co. 

Western  Newspaper  Union 

American  Typ*'  Founders  Co. 
/The  Paper  House  of 
I  New  EngUnd 

The  Central  Ohio  Paper  Co. 

The  Wilson-Monroe  Co.,  Ltd. 

Western  Newspaper  Union. 

John  Martin  Paper  Co.,  Ltd. 


FOREIGN  SELLING  AGENTS 
Henry  IJndenmeyr  te  Sons,  London,  England 


THE  BECKETT  PAPER  CO. 

MAKERS  OF  GOOD  PAPER 

IN  HAMILTON,  OHIO,  SINCE  1848 


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COLUMBIA  UNIVERSITY  LIBRARIES 


0041419197 


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MAY  2  01994 


NEH 


JUN  19  1926 


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END  OF 
TITLE 


